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ON FREE VIEW 
AT THE AMERICAN ART GALLERIES 


MADISON SQUARE SOUTH, NEW YORK 


BEGINNING FRIDAY, JANUARY 8, 1913 


AND CONTINUING UNTIL THE DATE OF SALE 


thy 


COLLECTION 


OF THE LATE 


TADAMASA HAYASHI 


OF TOKYO, JAPAN 


UNRESTRICTED PUBLIC SALE 


BY ORDER OF MADAME HAYASHI 


WEDNESDAY EVENING, JANUARY 8 
AT THE AMERICAN ART GALLERIES 


AND 


IN THE GRAND BALLROOM OF THE PLAZA 
FIFTH AVENUE, 58ra TO 59rn STREETS 


THURSDAY EVENING, JANUARY 9 


CATALOGUE 


OF THE 


IMPORTANT COLLECTION: 


OF 


PAINTINGS, WATER COLORS 
PASTELS, DRAWINGS 
AND PRINTS 


COLLECTED BY THE JAPANESE CONNOISSEUR 
THE LATE 


TADAMASA HAYASHI 


OF TOKYO, JAPAN 


Chief Commissioner for the Japanese Government to the Exhibition 
Umiverselle, Paris, 1900 


TO BE SOLD AT UNRESTRICTED PUBLIC SALE 
BY ORDER OF MADAME HAYASHI 


ON THE DATES HEREIN STATED 


Tue SALE WILL BE CONDUCTED BY Mr. Tuomas E. Kirsy, or 


THE AMERICAN ART ASSOCIATION, MAnacers 
MADISON SQUARE SOUTH 
NEW YORK 
1913 


, Sn re +. aE rey aot e x -% an we a 4: 


: — 


CONDITIONS OF SALE 
The highest bidder to be the Buyer, and if any dispute arises 


a _ between two or more Bidders, the Lot so in dispute shall be immediately 
put wp again and re-sold. 


i 2. The Auctioneer reserves the right to reject any bid which is 
merely a nominal or fractional advance, and therefore, in his judgment, 


Bee likely to affect the Sale injuriously. 


8. The Purchasers to give their names and addresses, and to pay 


ae down a cash deposit, or the whole of the Purchase-money, if required, 
im default. of which the Lot or Lots so purchased to be immediately put 
up again and re-sold. — 


4. The Lots to be taken away at the Buyer’s Expense and Risk 


Phe within twenty-four hours from the conclusion of the Sale, unless other- 


wise specified by the Auctioneer or Managers previous to or at the time 


of Sale, and the remainder of the Purchase-money to be absolutely paid, 


or otherwise settled for to the satisfaction of the Auctioneer, on or 
before delivery; in defauit of which the undersigned will not hold them- 
_ selves responsibie if the lots be lost, stolen, damaged, or destroyed, but 


ES they will be left at the sole risk of the purchaser. 


ie 
[ 


5. While the undersigned will not hold themselves responsible for 


the correctness of the description, genuineness, or authenticity of, or 


any fault or defect in, any Lot, and make no Warranty whatever, they 
will, upon receiving previous to date of Sale trustworthy expert opinion 
in writing that any Painting or other Work of Art is not what it is rep- 
resented to be, use every effort on their part to furnish proof to the 
contrary ; failing in which, the object or objects in question will be sold 
subject to the declaration of the aforesaid expert, he being liable to the 
Owner or Owners thereof for damage or injury occasioned thereby. 

6. To prevent inaccuracy in delivery and inconvenience in the 
settlement of the Purchases, no Lot can, on any account, be removed 
during the Sale. 

7. Upon failure to comply with the above conditions, the money 
deposited in part payment shall be forfeited; all Lots uncleared within 
one day from conclusion of Sale (unlezs otherwise specified as above) 
shall be re-sold by public or private sale, without further notice, and the 
deficiency (if any) attending such re-sale shall be made good by the de- 
 faulter at this Sale, together with all charges attending the same. This 
Condition is without prejudice to the right of the Auctioneer to enforce 
the contract made at this Sale, without such re-sale, if he thinks fit. 

8. The Undersigned are in no manner connected with the busi- 
ness of the cartage or packing and shipping of purchases, and although 
they will afford to purchasers every facility for employing careful 
carriers and packers, they will not hold themselves responsible for the 
acts. and charges of the parties engaged for such services. 


Toe AMERICAN ART ASSOCIATION, Manacers. 
THOMAS E. KIRBY, Avcrioneer. 


TADAMASA HAYASHI 


The late Tadamasa Hayashi was born on December 
12, 1853, at Takaoka City, in the province of Etchii, and 
was the second son of Dr. Gentei Nagasaki, a physician 
of that city. 
_ _His early education, which was largely in French lit- 
erature, was received from Tachu Hayashi, who belonged 
_ to the gentry of the Toyama clan, by whom he was after- 
ward adopted. Later on he entered the Daigaku Nanko, 
the only college then in existence in Japan, and studied 
French political science, with the purpose of engaging in 


public affairs. — 


~ While he was in college, the most extraordinary trans- 
formation in politics, as well as in the social state, took 
place, abolishing the feudal system and the Shogunate, 
and restoring power to the Imperial throne. 

Being satisfied with the new order, Hayashi changed 
his original plan, and, despite the kindly protest of Presi- 
dent Hamao, he left college a few months before gradu- 
ation, with the intention of going to France to study en- 
gineering there. 

During his student days in France he experienced 
many hardships and trying circumstances, yet he did not 
give up his study. | 

In 1883, success poale came to him through his estab- 
_ lishment of an art firm in Paris, which rapidly expanded 

and made him known the world over in the realm of art. 
| He was on intimate terms with the late Prince Ito 
and Viscount Sone, and when, in 1900, the World’s Fair 
enterprise was in progress, the Japanese Government con- 
sulted him in the matter, and, availing themselves of his 


advice and experience, finally appointed him chief com-— 
missioner of the Japanese exhibit, with the fifth title of 
official rank of the “Sho-Goi.” His services were entirely 
satisfactory, and after the close of the fair the Japanese 
Government decorated him anew, while the French Goy- 
ernment made him a Commander of the Legion of Honor. 

Far-seeing, with natural-born talent, devoting with 
heart and spirit all of his time to the cultivation of art, he 
deeply deplored the fact that the Oriental people were not 
afforded opportunities to learn and study Occidental art. 

For this reason, he made a collection of paintings by — 
Western masters, the idea being thereby to benefit artists 
and educate the public. As to the collection itself, for 
which he spent a sum of no small consideration, he intended 
to present it as a gift to the Imperial household. 

He died on April 4, 1906, still in the prime of life. 

What he contributed to the world of art, at home and 
abroad, cannot be easily measured, and we all owe to him 
a deep and sincere gratitude. Had he lived a few years — 
longer, we have no doubt that he could have accomplished 
still greater successes. 

The pictures reproduced herein number preeed of 
160. We firmly believe that the album will prove a most 
beneficial companion to lovers of art. : 

Y. Hosurno. 

Toxyo. | 


A FOREWORD 


I am fulfilling the wishes of the wife of my friend, 
Tadamasa Hayashi, in saying a few words about his col- 
lection of French paintings. Tadamasa Hayashi is known 
to all American and European friends of Asiatic art as 
one of its best connoisseurs and most fortunate collectors. 
The auction of his wonderful Japanese treasures in Paris 
will never be forgotten, but few know that he had also the 
greatest interest in the art of the West. 

While most of the Japanese remain indifferent and 
_ even hostile to our art, and particularly to our paintings, 
Tadamasa Hayashi followed its development with the 
most intelligent interest. In Paris, where he lived dur- 
ing the greater part of his adult life, he had the friendliest 
relations with the most important artists, and his collec- 
tion of pictures arose out of this living intercourse, which 
lasted more than twenty years. 

Many who look for the first time upon the collection 
- will be astonished to see with what remarkable acumen this 
J apanese recognized what was really important in the con- 
fusing whirlpool of art production. His collection would, 
in fact, do honor to the best European connoisseurs. It 
does not contain, as do many others, only great names, but, 
what is of far more importance, great works. All of the 
most celebrated names are borne here by works which are 
really worthy of their reputation. 

For that matter, the paintings will speak best for 
themselves—the luminous Monets and Renoirs, the char- 
acteristic Degases, the pleasing Collins, among them the 
great “Dance on the Seashore,’ which was so much ad- 
mired at the Exposition of 1900; the noble Sisleys, Raf- 


faéllis and Vidals, the powerful Guillaumins, the Pissaros, 
and, not least, the dreamy landscapes of the early-deceased 
Blache. 

Hayashi had made his collection with no idea of. a 
later sale, but chiefly out of a pure delight in the subject 
matter. Besides, he cherished the hope of later making — 
his collection useful to his countrymen. He expected much 
for the future of Japanese art, which was close to his heart, 
from their study of European art, and he knew that the 
pictures which had hitherto reached Japan from the West = 
were by no means sufficient for that purpose. _ | = | 

It was not granted to. the tireless man to carry out 
this plan. Soon after his return home, he succumbed to 
the illness which ended his rich life within a year. His 
precious collection of European paintings was left behind 
him, unconsidered and unused. ‘The hope that they would 
be bought by the Imperial Museum, and thus his original a 
intention of initiating the Japanese public into’the spirit — 
of Kuropean art be fulfilled, was disappointed through — 
lack of means, and Japanese private houses, with their 
narrow, low rooms, offer no place for such pictures. 

Since even in the home of the family he left behind 
no satisfactory exhibition was. possible, and since, besides, 
the moist Japanese climate threatened the life of the can- 
vases, his heirs have finally decided to give back to the 
West these treasures of Western art. May they there find 
the honor which they deserve! 


Ernst GROSSE. 
TOKYO. 


_ HAYASHI'S COLLECTION OF 
FRENCH PICTURES 


Although Western scientific culture passionately in- 
) terests the Japanese, it is but rarely that our art attracts 
their curiosity, and, with the exception of the painters . 
who come to learn from us processes which they think more 
in accordance with their new ideals, they remain indiffer- 
_ ent to the works of our artists. Their national traditions 
still hold them captive and their eyes have not learnt our 
point of view. 
aa 'E; Hayashi was, to my knowledge, the only Japanese 
_ who really loved and understood the arts of Kurope. Com- 
ing to Paris when very young, in the employ of a society 
which intended to show ancient Japanese art works at the 
‘Universal Exhibition of 1878, he did not have long to 
wait before artists came to his stall in the Champ de Mars. 
Truly, it was the first time that Europe was enabled to see 
the real treasures of old Japan, and perhaps the great 
public hardly became aware of the occurrence, but those 
who already were working for the renovation of our vision 
were singularly impressed. Advanced critics and those 
painters called “Impressionists” stopped for a long time 
before these semi-disclosed wonders, and as their custodian 
was very intelligent, and as he was in a position to give 
them all the information they could desire, they could not 
fail to enter into friendly intercourse with him, and soon 
he became their friend. ‘There must have been with the 
best amongst them, and especially with the critics, with 
the Goncourts, Burty, Gonse, many long conversations in 
which, whilst the Japanese initiated them into the mysteries 


of his national art, he learned in return from we to kaa 
our art and to appreciate it. | 

When the exhibition closed these fuente Alone 
did not cease, warm friendships were made, and when 
Hayashi set up on his own account in a little flat in the 
Rue d’Hauteville, art lovers, critics and artists continued 
to visit him. Those upon whom this first revelation of 
Japanese art had made the deepest impression were the 
painters of that new school, who, with Claude Monet, 
sought especially to transfer to canvas the charm of the ~ 
play of light, and its reflections; or those draughtsmen 
gifted with a marvellously keen eye, such as Bracquemond 
~ or Degas, who found in the paintings and prints of Japan 
something of their own ideals; and still to-day these pro-- 
claim openly all they owe to that art, which filled them 
with enthusiasm. The same reasons which brought them 
to Japan drew the young Japanese to them. His eye, 
accustomed to the luminous transparencies dear to the 
landscape painters of his country, found pleasure in the 
subtle mannerisms of Monet’s canvases, and all that in- — 
tensity and fulness of life compressed into a pastel of — 
Degas reminded him of the masterly draughtsmen of his 
own land. They chatted long and often, and, indeed, 
much as it would have been a joy for our painters to pos- 
sess some of the masterpieces which they admired in the 
hands of the dealer, Hayashi himself yearned to decorate 
his rooms with some paintings of those artists whom he 
admired. But the great public had not yet found either 
the Impressionists or the Japanese, and the hard life which 
this little group led precluded all thought of purchase. 

But if money was lacking, another way remained open 
to gratify their tastes. As in the fable the blind and the 
halt had formerly associated their miseries, our friends 
also entered into the way of exchanges. Claude Monet 


ar 5 
ee 


a has shown us admirable prints and exquisite pottery, 


which he obtained from Hayashi in exchange for pictures 


then unsaleable, and Degas possesses certain albums from 


the same source, especially those Moronobu which still 


_ to-day he almost worships, and for which he gave a few 


precious drawings. When Hayashi’s business had ex- 
tended he could assuredly acquire in another manner those 
productions which charmed him, and his collection includes 
the works of artists into whose studios a Japanese work 


_ never entered. Still, he always loved the other method. 
_ It was by exchange that Raphaél Collin obtained the most 


beautiful sword-guards and the best prints of his collec- 


tion; and when, after twenty-five years’ sojourn in 


Europe, Hayashi decided to return to his native land, it 


was in exchange for an incomparable series of inros that 


he procured from Henri Riviére the decorations for the 


_ villa which he wanted to build for himself in 'Tokyo—that 
villa which was never completed except in his dreams. 


Hayashi had not only understood modern French 
art—that of the little group of Japan-lovers amongst the 


_artists, in the midst of whom he lived in Paris, and after 
all the best in contemporary France—but he had also 


penetrated into the foreign schools and those of the past. 
During the frequent visits he paid in Germany to Prof. 
Grosse (his most intimate friend in Europe, and who 


-had, owing to a passionate taste for them, some of the most 


beautiful objects of Far Eastern art which came to 
Europe), he learned to appreciate Boecklin, and M. 
Grosse has told me of the long talks in which these two, 
the German and the Japanese, penetrated together into 
the art of that painter, so mysterious for most F'renchmen, 
even for those who wish to understand him. Indeed, once 
when I was going through the rooms of the Louvre with 
Hayashi, he stopped before a red chalk drawing of Wat- 


teau’s; for a while he remained entranced before it, then, 


turning to me with his smile, at the same time full of 


irony and of deep conviction, he said: “What can you 


want of Utamaro, when you possess a man such as this?” — 


It was a whimsical sally, and yet not such a sally as one 
might think, for, true Japanese though he was, he only 


half enjoyed those prints which delight us. They were to 


{ 


him a source of profit as well as pleasure, and to them he ~ 


owed a large part of his fortune, but he set things in their 
proper places, and he remained above all the fervent 


admirer of the great arts of his country—paintings, sculp- 


ture, lacquer work, pottery and sword cases. Perhaps 


what he loved most in his prints was that they had pro- 
cured for him the beautiful collection of modern paintings 
which were his joy, for it was to the prints, particularly, 


that Monet and Degas were attached. As the dealers in 


old pictures disdained to exchange and wanted hard cash, 
Hayashi limited himself to the work of contemporary 
artists, and those who have seen his little gallery will agree 
that he was not wrong in doing so. 


But they are the select few, and it was a special 


privilege to be admitted to his private apartment. Haya- 
shi’s show-rooms were, after 1890, in a fine first-floor flat 
in the Rue de la Victoire, where he had Japanese things 
only. But on the fourth floor, at the top of the house, 


some rooms had been furnished for his personal use, and 


there it was that he piled up his treasures of French paint- 
ing. And perhaps “piled up” are the right words, be- 
cause on the walls there was hardly anything. ‘They were 
bare walls, and when he wished to show a painting to a 
friend for whom he had a particular regard, he had to 
draw it out from some hiding place, the mystery of which 


no one had ever fathomed. He acted with his pictures | 


as Japanese art lovers with their paintings, not showing 


e them all at a time, but contriving agreeable surprises each 
__ time they were brought out of their prisons. Moreover, we 


firmly believed that he always sent or took direct to Japan 
most of the French paintings he had acquired, thus saving 
them from an extended stay in Paris, and hastened to 


_ place them in the selected place which it was his intention 
they should never leave. 


- Hayashi had wished to spend his old age in Japan; 


| he hoped to enjoy there a fortune acquired by his unre- 


mitting toil, in the midst of the Japanese masterpieces 


_ which he had reserved for himself and had always refused 


to sell, among the French paintings which he had collected 
one by one, and with each of which was associated a recol- 


ge section. A pretty house should receive them, and after 


his death the Museum of Tokyo was to inherit them, for 
- Hayashi wished those things which had so brightened his 


life to give joy to many others after he had been gathered 
with his ancestors. And not only were they to give joy 
to all others, but, ardently patriotic as he was, he had in 


mind the education of his countrymen and their artistic 
development; he thought they could benefit by the study 


of those French painters who had so ingeniously reno- 
vated Western traditions by contact with Japanese art, 
and he was proud to think that Tokyo would have a 


“museum of modern paintings such as few European 


capitals could boast of. Not that he had conceived any 
illusions upon the relative value of his pictures. He was 


well aware that he did not possess capital masterpieces 


such as financiers alone could pay for, and which satisfy 
their vanity rather than their love; but he was conscious 
that each of the pieces he had chosen struck an exquisite 
note, was a theme of individuality, a gem for a refined 
collector, and that they would minister to his memory as 
they had brightened his life. 


Alas, the dream was never realized. Death took 
Hayashi before he was able to put his affairs in order as 
he wished. His canvases were never hung as he wanted 
them in the house which his imagination had conjured. 
They will not find a peaceful and safe resting place in the 
Tokyo Museum, and they will not serve as models for 
Japanese painters. The fire of the auction-room will scat- — 
ter them, not on their native land, but in distant countries 
beyond the ocean. Could he who so loved them in his life- 
time but have foreseen their fate, he would perhaps have 
grieved at first, and then resigned himself. He would have 
felt that these pieces of the highest taste would only be 
- bought by art lovers capable of understanding them, that 
they would join in their new dwelling places other paint- 
ings worthy of them, and he would have soothed himself 
with the certainty that they would bring afresh to others 
the joy that they had given him. Let us, the Parisian 
friends of Hayashi, hope so in our turn, in now bidding 
farewell, doubtless forever, to those works which we loved 
with him. : ey 

RAYMOND KOECHLIN. 


ea 9 See ft el tan chy “Soe WSR ie ee okt, ee a ee " 
ORR a ea le ot ae ei ee aie 
ye Col ME eer Ak | A oe aaa he es os 5 ‘ < 


 TADAMASA HAYASHI 
SOME RECOLLECTIONS 


: I became acquainted with Tadamasa Hayashi about 
_ 1884, when he was some thirty years of age. He came to 
me to introduce a young Japanese student, Seiki Kuroda, 
who, after some years successfully devoted to literary 
studies in our old Quartier, later became my pupil, and 
who has since made for himself in his own country a great 
name as one of the most famous painters of modern 
Japan. MHlayashi’s open and truly “Parisian” mind had 
been impressed by the trend of modern art, and finding 


_ interest in every artistic manifestation, he was one of the 


_ first to understand, at the very dawn of their career, those 
artists whose work was stamped with an audacity, an orig- 
inality, which, although apparent, was yet beyond the ken 
of the vulgar crowd. 

The paintings of Monet or Degas, the drawings of 
Renouard, the colored engravings of Théodore Riviére, 
had struck him with a deep sense of admiration, and with 
an enlightened connoisseurship he acquired a number of 
their works from. these masters before their great suc- 
cesses. Personally, my studies of nude life in the open 
had found favor in his eyes, and he expressed the wish to 
possess several of my most important paintings. 

Conversely, Hayashi initiated us in an exquisite man- 
ner into that world unknown and full of marvels, whose 
precious relics he accumulated in his flat of the Rue de la 
Victoire, where every new visit brought forth fresh pleas- 
ure and delight. I cannot do justice to the delicate and 
graceful manner with which he showed us those fine pot- 
teries from Korea and Japan, powerfully modeled in the 


finest taste and the most unexpected forms in a clay that 


almost lives; or those noble figures, sober of gesture, dig- 
nified in their august mien, which, whether of gilt bronze 
or lacquered wood, had been the erstwhile ornaments of 
Buddhist shrines; or yet the kakemono of pure and refined 
style, the prints in rare colors or delicate tones, the quaint 
metal work, and that precious marvel of perfection which 
we call lacquer. Works of a peculiarity which enhanced 
the perfection of the esthetic spirit that created them, 
their contemplation was at once a revelation and a feast 


for the mind and the eye, a Tare pleasure, and a aie E 


lesson withal. 
Again and again I visited Hayashi, and I so felt 


the charm of all these things of beauty that I yearned to : 


possess at least a few, which I treasure to this day. 
Every month the “Diner Japonais,’ founded by 


Bing, brought together those worshippers of the art of 


Nippon who lived in Paris, and we met at the same table; 
Edmond de Goncourt, S. Bing, Alexis Rouart, the painter 
Whistler, Ary Renan, Gillot, Manzi, Ch. Mourier, the col- 
lector Groult, Raymond Koechlin, Migeon, Blondeau, and. 
a few others, all passionately fond of that exquisite art. 
Hayashi, steeped in art to his very soul, supplied us in- 
formation and explanations with indefatigable ahi 
and charming good nature. 


Those were pleasant nights, but of the gifted and re- 


fined men in whose midst they were spent, many, alas! 
have now departed this world. 

In 1898 Hayashi left us to seek in Japan some fur- 
ther art treasures, and to prepare, on behalf of the Jap- 
anese Government, the Retrospective section of the Ex- 
hibition of 1900. ‘This masterpiece was for him and for 
his country a real triumph, and for our eyes an unpar- 


alleled feast. In the midst of gardens surrounded by 


_ ponds stood a building, copy of a famous temple, hoard- 


_ ing the rarest types, of which only a few isolated speci- 
mens had been shown us before by Hayashi, and at last the 


___ public had an opportunity to understand all the grace and 


all the strength of the Japanese soul. 

es: Alone a Japanese with so Parisian a mind, as was 
Hayashi, could gave brought together in Paris, with so 
_ Mmuch tact and discrimination, so complete an ensemble, 
and no words can express the gratitude we owe to this 
_ man of taste for this initiation to such sublime beauty. 

| When, after this success, Hayashi decided to return 
home forever, and scattered his collections, when the time 
came for the banquet at which before his start we wanted 
Le tO, SIE him a lasting token of our affectionate gratitude, 


AS we felt almost abashed to bring a bronze to this refined 


connoisseur. Yet the work was signed Barye; but some- 

how the cast appeared poor beside those magnificent 
cire perdues which he had so often allowed us to admire. 
Over that banquet hovered an atmosphere of true cordial- 
ity, of warm sympathy, yet mingled with dismay at the 
departure of a very dear friend, and the emotion conspicu- 
ous in the toasts was true and sincere. 

Alas, poor Hayashi! A letter received shortly after- 
ward from Tokyo brought us the sad tidings of his pre- 
carious health, together with a portrait, in which one 
would hardly have known him. Yet he wrote without a 
plaint, with a smiling philosophy; true to his race, he 
would have grieved to cause us sorrow. 

Short was his enjoyment of that fine collection of 
modern French works of art which he had carefully ac- 
cumulated in his sojourn of over a score of years. He 
had found pleasure in showing to his countrymen, so fond 
of Western novelties, the productions of masters who dur- 
ing that period had been his friends and his preferred 


painters; he had hoped to influence the taste of Tokyo — 


artists and dilettanti in a happy manner by the variety and 
the individuality of the latest creations of French paint- 
ings at the end of the Nineteenth Century, and to that end 
he had constructed in his house—decorated in European 
style by Parisian friends—a hall, the high windows of 
which opened over a flower garden. ° 

But he departed this life before the realization of 
his hopes, and this beautiful collection will soon be scat- 
‘tered. May its contents be understood and treasured; 


may they find resting places in the hands of amateurs as 


fervently appreciative as he was himself. 


For the widow and the young son of my lost friend, | 


I have only to wish the successful issue, and that it may 
be seen how, amongst the numberless host of ordinary 
works, Hayashi has discriminated many full of life, full of 
true individuality, with as much tact in his appreciation 
of Western art as he had shown of taste and refinement in 
collecting and bringing together the masterpieces of his 
own country. 
From the French of RapHain Conuin. 


ee ee oe ed 


Yd eee Sy ae aN oS: a erie 1.29 ac inci sarees 
Sk So al eee a ea 3 


< 


Motsvuuiro, Emperor of Japan, by Grace of Heaven, 
and seated on the throne occupied by the same dynasty 
from Time Immemorial, causes Tadamasa Hayashi, Fifth 
____ Senior Court Rank, to be ranked in the Officier (or class of 
the order of the Rising Sun), and confers upon him the 
insignia of that order, and accords him the privileges and 
courtesies due to the said rank. 


: In witness whereof, we have caused the Grand Seal of 

~ the Empire to be affixed at our Palace, at Tokyo, this 

& e twenty-first day of the tenth month of the thirty-fourth 
is year of Meiji, corresponding the twenty-five hundred 

_ sixty-first year of the coronation of the Emperor Jimmu 


(A.D. 1901). 


Grand Seal of Emperor signed: 


Grand Cordon and the Third Senior Court Rank, 
Vice-Count Wataru Ociu, President of 
the Imperial Bureau of Decoration. 


Visé and countersigned as No. 33987 of the Imperial 
Order Register, Commandeur and the Fourth Junior 
Court Rank: 


KANAYE Yoxora, Secretary of the Imperial 
Bureau of Decoration. 


NOTE 


OccAsIONAL divergences will be noticed between the titles 
preceding the descriptions and the titles under the illus- 
trations in this catalogue. The illustrations were all 
made and printed in Japan, for Tadamasa Hayashi, and 
in the transcriptions thereon of French titles, and some- 
times of signatures, certain errors are obvious. A few it 
has been necessary to correct in the text; for the most part 
and so far as possible the titles have been preserved as 
they were recorded for Tadamasa Hayashi. 


PRINTS AND LITHOGRAPHS 


TO BE SOLD IN 


THE AMERICAN ART GALLERIES 


MADISON SQUARE SOUTH 


On Wednesday Evening, January 8th, 1913 
BEGINNING AT 8.15 O’CLOCK 


No. 1 


PAUL CHENAY 
FRENCH 
1818-1906 
AMICA SILENTIA 
. Print 
Height, 2°24 inches; length, 8 inches 


OV 


AFTER Victor Hugo. A romantic view of the sunset 
hour. Light departing, and the landscape given to silence 
and peace. : 


No. 2 


MANZI 


FRENCH 
A PORTRAIT 


3 Height, 54% inches; width, 4 inches = 
A : ke } See a ~ bok 


A. FINE and living likeness or portrait of a man, in black 
and white, heightened by pink flesh tones. He is seen 
head and shoulders, in profile, facing the right, and wear- 
ing a silk hat, with a blue throat muffler above his great 
coat. 


Signed at the lower left, Manzi, 1881. 


No. 3 


EUGENE MICHEL JOSEPH ABOT 


BELGIAN 
1836-1894. 
PORTRAIT OF VICTOR HUGO 
Etching 
oie Height, 6 inches; width, 4 inches y, 


Heap and shoulders of the French poet and novelist, fac- 
ing to the left, three-quarters front, his eyes directed 
upward. : 


Signed at the lower right, E. Abot, aqua f. 


No. 4 


H. SCOTT 
FRENCH 
Contemporary 
TORPILLEUR 
Black and White 


pe dsiess Height, 5 inches; length, 11 inches 


4 

AL TORPEDO boat is making rough weather of it in a choppy 
sea. Several men are on the slanting deck, and a steamer, 
with sails, is seen in the distance. 


Signed at the lower left, H. Scott. 


No. 5 


F. MEAULLE 
FRENCH 
Contemporary 
MAISON DU MOYEN AGE 
Print 
eo Height, 934 inches; width, 6Y_inches 

AFTER Victor Hugo. Apparently a combination church 
and dwelling, or one of the buildings of ecclesiastical 
architecture used for residence, with a tall clock tower in 
a brilliant light and the mass of the building in deep 


shadow. The Middle Ages seen in the Nineteenth 
century. 


Signed at the lower left, F. Méaulle, sc. 


No. 6 


GUSTAVE GREUX 
FRENCH 


Deceased 
LA RENTREE DU TROUPEAU 
Print WMA L) 


—. Height, 7 inches; length, 91/2 inches meee 


AFTER Jean Francois Millet. ‘The familiar Millet 
peasant leading his sheep homeward, across a flat field. 


Signed at the lower right, J. F. Millet. (Jean Frangois Millet; 
French, 1814-1875.) 


+; iat Aa anes 
KAS MeO ate 


No. 7 


CHARLES WALTNER 
FRENCH 


Contemporary 


LE VASE DE CHINE 
Engraving 
aN Height, 9°4, inches; width, 7 inches * 
Lp eo Yr i oe 
AFTER a pen drawing or etching by Fortuny of his/own 
well-known picture in water color of an early exquisite 


admiring as a connoisseur a tall Chinese vase in a palace, 
entitled “The Rare Vase.” 


a 
° 


The original water color, sold mm the Mary J. Morgan collection, 
in 1886, is now in the W. T. Walters Galleries, Baltimore. 


No. 8 


_THEOPHILE CHAUVEL 
FRENCH 
1831- 


UN VILLAGE EN SUEDE 
Etching 


ot Height, 61 Mie 10 inches ae Vee 


| Ce 
AFTER Wilhelm von Gegerfelt Sethe 1844—). A 
group of dwellings on either side of a stream, all under 
deep snow. 


No. 9 


GUSTAVE GREUX 
FRENCH 


Deceased 


SABOTIERS DANS LE BOIS DE QUIMERC’H 

(FINISTERE) 

p ‘Print 

20 iaate Height, 6% inches; length, 1014 inches 
ue a OS We hoarthey 

AFTER Camille Bernier (French, ray A large tree 
has been felled, in an open forest, and sawn into logs, 
which lie in the foreground. In the middle distance the 
sabots makers are at their work or resting. 


No. 10 Bo, 


THEOPHILE CHAUVEL 


FRENCH 
1831- 
BUITEN SINGLE, AMSTERDAM 
Print 
re Height, 71 inches; length, 11 inches/) 


Meee XS Py Gos Eo tat 
Arter la Baronne Nathaniel de Rothschild (rench— 


Contemporary). A view of the Dutch city, with a great 
windmill near the foreground, the whole seen across two 

_arms of a placid river—or possibly a canal or an inlet— 
which carries reflections of the shore edges and the 
windmill. 


No. 11 


ALICE HAVERS 
DEUX FILLES 


Process Reproductions 


ae oh Height, 12 imches ; width, "(1% 18,8 : 


Two REPRODUCTIONS from water color dr awings by Alice ~ 
Havers; subjects, “Wide Awake” and “Fast Asleep.” 

In “Fast Asleep” is pictured a young woman sitting back _ 
against the portieres, dreaming. In the companion 
picture a young girl, quite awake, with a kitten playing 

on her shoulder, is carrying a tray holding more small — 
kittens. 


“Wide Awake” signed at the lower right, A. H. 


No. 12 


EUGENE ANDRE CHAMPOLLION 
FRENCH 
1848-1901 


LE DEPART 
Etching 


Pilg Height, 7 een gth, 1% Miss je 


A¥TER Ulysse-Butin. (Louis Auguste Ulysse-Butin; 
French, 1838-1883.) It is low tide on a flat coast, and 
fishermen and their families are making ready for the next 
sailing, carrying water casks, etc., over the wet sands 
toward and from the boats. 


Signed at the lower left, E. Champollion, aqua f. 


No. 13 


HENRI ROOKE 


LA PRAIRIE 
Etching 


Het ht, 8 inches; length,.13 inches 
Cae a 2 ee Yur a 


Five cows in different attitudes, forming a oy ake 
group, three lying down, on a flat meadow at sunse 


Signed at the lower left, Henri Rooke. 


No. 14 


C. LAPLANTE 


| FRENCH 

“OLD MARINER” 

Wood Engraving 

Height, 11%4 inches; hie og oh inches Bs 4 
ater | partir 

FTER Gustave Doré. A proof of an engraving on wood 
by C. Laplante after Doré, which has been “touched up”’ 
for reproduction. ‘The picture is of a motley group of 
men, women and children, gathered about the gateway of 
an ancient castle wall. 


Signed at the lower right, C. Laplante. 


No. 15 


THEOPHILE CHAUVEL 
_ FRENCH 
1831- 


UNE ECLUSE DANS LA VALLEE DOP- 
TEVOS (ISERE) 
Etching 


& Height, 7 eg lengt, 18 inches Y, apatt S 
oo? 


AFTER Daubigny. What appear to be ruins are visible 
at the side of a hill, in connection with a sluice through 
which a stream descends to the valley in the foreground. ~ 
A girl and her dog have driven some cows down to the 
water here, to drink, and on the farther bank of the 
stream other cattle are seen. Krom a painting by C. nee 
Daubigny which hung in the Luxembourg. 


No. 16 


UNKNOWN 
MERE ET ENFANT SUR UN TOMBEAU 


‘a Print 


/ 12 Height, 184% inches; tid Se nh 


A MOTHER in black kneels at the foot of a tombstone, — 
over a grave in a cemetery, her small son kneeling, with his 
hat in his hand, at the side. 


Signature at the lower left wndecipherable. 


No. 17 


GEORGES ROCHEGROSSE 
FRENCH 
Contemporary 
HISTORIQUE 
Lithograph 


a oe Height, 14% inches; width, 9 inches ee lagen 


ONE of ae artist’s Babylonian creations. “pag appear- 
ance of the avenging angel of the Lord with a luminous 
sword has stricken down the Oriental potentate, at the 
foot of a stairs under a dark arched entrance of an East- 
ern building, while people look down, awe-struck, from 
the street aloft. 


Signed at the lower right, G. Rochegrosse. 


No. 18 


DANIEL MORDANT 


FRENCH 
Contemporary 
LA PRIERE 
| Print 
rae —— Height, 15 inches; widthMl0O inches / Vo 


WMA t3 A’ f (L/L 
AFTER Jean Beraud. A woman in the dress of the early 
-°80’s, leaning over a chair, at prayer, in a European 
church. 


No. 19 


EK. DERBIER 
FRENCH 
Contemporary 

FILLE AU CHAT 

Wood Engraving 
a Height, 151% inches; width, 10 inches S 
A LARGE-EYED, pretty, pensive girl, ated an fame to 
the left, is facing the spectator fully, directly and thought- 
fully, as she holds in her arms a large cat, which appears 
to be a Persian, that has gone to sleep. Three-quarter 


length. After Chaplin’s well-known painting. On fine 
Japan paper. 


Signed at the lower left, E. Derbier, sc. 


BLACK-AND-WHITE 
DRAWINGS 


TO BE SOLD IN 


THE AMERICAN ART GALLERIES 


MADISON SQUARE SOUTH 


On Wednesday Evening, January 8th, 1913 
BEGINNING AT 8.15 O’CLOCK 


a a 


No. 20 


M. F. JACQUETTE 
DEUX ETUDES DE FLEURS 
Pencil Sketches 
Lh 4* Each, height, 41 inches; length, ye inches | VO 4 


Two FLOWER studies on one Tae a mass 4 fowent ; 
growing wild about the foot of a tree trunk; the other, 
growing flowers arranged at the foot of a large column on 
a terrace. : 


Lower study signed at the lower left, F. Jacquette. 


INO. 21 


S. HUYKRUZ 
ADORATION DES BERGERS 

Black and White 

ae Height, 724 inches; length, 10% inches 1e 

As AA v7, a af Dr 
On a mound of straw in a lowly stable the Virgin is 
seated, with the Child in her arms. Before her the 
shepherds are kneeling and standing, and the stable ani- 
mals are seen at the sides of the building. 
A pen-and-ink drawing, with gouache used for the faces 
of the shepherds and for their staffs. 


Signed at the lower left, S. Huykruz, 1884. 


No. 22 


ADOLPHE JOURDAN 


FRENCH 
1825- 
PRIMEVERE 
Drawing 
Vs po. Height, 10% eames 8 inchés 


A youne girl of graceful features, sketched at /three- 
quarter length, seated, and facing toward the left, three- 
quarters front. A large open volume lies in her lap, at 
which she is looking with interest. 


Signed at the lower right, A. Jourdan. 


No. 238 


M. F. JACQUETTE 
UN CHAUME 
Crayon—Black and White 


uo Loh ly, inches; length, 11 inch 
iho: 


BusHEs, a field and a winding path from the foreground. 
Beyond are some cattle grazing under a tree, and near 
by is a tall building with a low thatched roof. 


Signed at the lower left, M. (or M F in a monogram) Jacquette, 
with the title, “Un chaume.”’ 


No. 24 


WALTER GAY 


AMERICAN 
1856-1912 


VIEILLE TISSERANDE 
Charcoal Drawing 


pee. 11 inches; width, 7% inches 
ee ce Gs 
A MIDDLE-AGED woman in a cap and a long apron sits fac- 
ing the left before a window of an humble building, care- 
fully sorting threads at the large loom where her daily | 
task of weaving is done. Her features are strong, and 
her expression is patient and one of quiet content. 


Siened at the lower left, W. Gay. 


No. 25 


CHARLES HENRI PILLE 


FRENCH 


Deceased 


ROI DES FRANCS 
Pen Drawing 
is one Height, 114% inches; width, 7 inches _ () 
wn. Slore, 

THE king, crowned, riding a little in advance of his Wrar- 
riors, has halted his horse and turned to listen td the 
admonishment of a bishop. (Probably an historical inci- 
dent or an illustration. ) 


Signed at the lower left, Henri Pille. 


No. 26° 


LOUIS EUGENE BOUDIN 
FRENCH . 
1824-1898 
AVERSE | 
Black and White 


oe Height, 91/2 inches; length es ake 
A SLOOP-RIGGED fishing boat, reefed down for Fath he 


a shower, is working her way out through rising waves . 


oe the face of a black squall which is coming up. Both sky 
and water are full of action, and the storm cloud is | 
ominous. To the starboard another sailing boat is seen. 
Signed at the lower right, E. Boudin. Inscribed on the upper 
margin: “Wm. Grain—Salon, 1886—E.- Boudin”; with 
“H.C.” (hors concours) appended in blue. ; 


No. 27 


LOUIS BRUCK-LAJOS 
HUNGARIAN 
1846- 


DESSIN D HISTOIRE 
Black and White 


iy << _—- Height, 131% inches; noe ihepies Trude 


A TALL, handsome-featured but pensive young peasant 
woman, in Hungarian garb, stands barefoot, in her 
picturesque costume and headdress, in the midst of a 
partly harvested grain field where other women are reap- 
ing and gleaning. In the middle distance two men in. 
clerical robes regard her from the rear, solemnly. _An 
illustration for a story, or possibly an historical incident. 


Signed at the lower left, Bruck-Lajos. 


ee ates Be 


te cows has been ven ys a 


PNG. 20: es 


b RRE GEORGES JEANNIOT 
FRENCH > 
1850- 


3 | sae Pe ic 
ce “Height, 5 inches; width, ee 
he . ALA UCAY (wae: oA = (es . 


terrasse of a small French cider caRe | is shown in the 


i ‘fae 


+4 te ole who has turned to regard a little bonne on her 
way to do the marketing. 


aE MA. drawing in black and white for an illustration, prob- 
nes ably i in color. | 


7% 4 Peed at the lower left, Jeanniot. 


No. 30 


G. dE. 
GEORGES D’ESPAGNAT? 


FRENCH 

MENDIANT 
oe Black and White 

be Height, 111% inches; length, 1724 wches 


An aged man with Jewish ean hed his hat 
slouched down over his eagerly staring eyes, who stands 
at the left, extends his open palm to a hatless,’ buxom 
young woman who is giving him alms. Both figures are 
seen at half length. 


Signed at the upper right, G. @E. 


No. 81 


EUGENE VIDAL 
FRENCH 
Nineteenth Century 


“A RAINY DAY™ 
Crayon 


“be 7 Cte. Height, 221% inches; re Nf pee Vad hae 
a 


A LITTLE girl, with large round eyes, iv a large bonnet and 
short-sleeved frock, leans on her elbows and rests her chin 
on her hands, as she sits behind a table and facing the 
spectator, and seems to be sorry that she cannot go out of 
doors. 


Signed at the lower left, Hug. Vidal. 
Exhibited at the Royal Academy. 


WATER COLORS 


TO BE SOLD IN 


THE AMERICAN ART GALLERIES 


MADISON SQUARE SOUTH 


On Wednesday Evening, January 8th, 1913 
BEGINNING AT 8.15 O’CLOCK 


No. 382 


PHILIPPE CHARLES BLACHE 
FRENCH 
Deceased 


COPIE D’APRES UNE MINIATURE PER- 
SANNE 
Water Color 


yA [ ““_ Height, 814 inches; width, 672, inches 

Tuis copy of a Persian miniature Nasa hee a 
young person seated on a hair rug, on the grass at the base 
of a tree. One knee is bent under, the other flexed against 
the breast. ‘The face is thoughtful, as of a dreamer, and a 
book lies at hand on the rug. ‘The miniature has been 
copied even to the intricacies of the framing, which at the 
top includes three ornamental medallions. 


No. 33 


UNKNOWN 


MATELOTS ET DANSEUSES 
Water Color 


ay Eis Height, 642 inches; length, 9 inches f ) 
cin PraraAa-VAYy 

A FREE sketch of several sailors amongst a THD of 

female dancers, some of the dancers appearing in Oriental 


costume. 


C 


No. 34 


ALFRED EMILE MERY 
FRENCH 
1824- 
POUSSINS 
Water Color and Pastel 


C-— Height, 11% inches; io. mn 


Two awxwarp chicks that hav® just burst from their 
shells, making their first noise in the world. Back of and 
about them, suggestions of the parental nest. 


Signed at the lower right, Mery. 


No. 35 


UNKNOWN 
SCENE AU BOIS DE BOULOGNE 


Water Color 
ae 6° = Height, 7% inches; "Oe ie 
A SKETCH of some visitors to the Bois de Boulogne in 
the days before automobiles, when it was fashionable to 


drive there with coachmen and horses, and to ride in the 
park as well. 


No. 36 


UNKNOWN 


DEUX CANTATRICES 
Water Color 


7 ie eR Height, 1034 inches; pea 


A FAT, blond stage singer, arms akimbo and skirts short, 

and her equally fat brunette sister, ina stage pose side 

by side, both with pleased expressions of self-content over 
_ their own singing. 


— 


No. 37 


LOUIS EUGENE BOUDIN 
FRENCH 
1824-1898 


Ds 


MARINE 
Water Color 


Lf eae Height, 9 inches; length, 1454 at 
Ul b th 
“hls port 


A sKETCH of the harbor of Brest, the weste 

of France, in Finistere, with scattered shipping—square 
rigged ships and steamers—mainly at their anchorages. 
It is low tide, and a bit of the beach is visible in the fore- 
ground, beneath a bulkhead or quay on which a few fig- 
ures are to be seen. 


Signed at the lower right, E. Boudin. 
Inscribed at the lower left, Brest, "71; E. B. 


No. 38 


J. ALDEN WEIR : 
AMERICAN ia 
--1852- 


THE BROOK 
Water Color 


ec cal Height, 1034, inches; ees i 2 Pe. Ube fat 


THE blue-gray waters of a Bae ream are Ub foul 
the bend of a flat, green bank, where a tree with green — 
and some yellow leaves grows. The stream passes from 
sight at the foot of a round-topped hill. | 


Signed at the lower right, J. Alden Weir. 


Exhibited as “The Brook’ at the Fourth Annual Exhibition OF asim 
the New York Water Color Club (1893). The title “Aw bord | 
du flewve” was acquired later. 


No. 39 


FEDERICO ZANDOMENEGHI 
ITALIAN 
1841- 


DAME LISANT UNH LETTRE 
Water Color 


po Naty tic) Height, 16 inches; ae Sy, 


A YELLOW-HAIRED young woman, trés chic, in street 
costume, has paused to read a missive. She wears a light 
green waist, a deep blue skirt, and a small, » flower- 

_ bedecked. bonnet, and stands with feet wide apart as she 
peruses the writing attentively. 


Signed at the lower left, Zandomeneghi. 


No. 40 


CHARLES EDMONDE SAINT-MARCEL 
FRENCH 
-1890 


FAMILLE DE LIONS 
Water Color 


pa ys “— Height, ov, inches; length, ey, rane LUsb. y 
four mem- 


op YA 
A SIMPLE drawing, with much Eai(b f oe fe 


bers of the leonine tribe at rest on the slope of a hill, all 
done in black and the tawny hue of the beasts’ coats. A 
lion with a massive head is seated on his haunches, back to 
the spectator, his head turned to look down at a lioness 
who lies on her side facing the spectator, and at a cub 
which peers over her back. Another cub sits awkwardly 
at the left, looking up hopefully at its father. 


Signed at the lower right, Saint-Marcel. 


No. 41 © 


GEORGES DE FEURE 


FRENCH 
Contemporary — 


DAMES 
Water Color 


/ pris Height, 19 inches; width, ey md 

A CURIOUS panne of J me effect, duh 
dental. Two European women in European garb are so 
arranged with their draperies as to suggest the flowing 
robes and poses of Japan. ‘They stand perched upon a 
mound or terrace before a huge stone gateway, flowery 
‘branches of unseen trees overhanging their heads. ‘The 
landscape falls away beyond them in Japanese pic- 
turesquerie, dotted there with wave lines, a building or a 
tree. One woman is seen in back and profile, the other 
faces front, half-turned to the left. 


Signed at the lower right, de Feure. 


No. 42 


GEORGES DE FEURE 


FRENCH. 
_ Contemporary 
DAMES 
Water Color 


ce Height, 201% inches; width, U5 i / | 
yas Height, 20 4, inches; a at hab 
N\A 


Two TALL women, a blond and a beioette. in low-necked 
gowns with sweeping trains elaborately ornamented in 
many colors, are walking, each clasping a hand of the 
other, on the shore of a large body of water upon which 
many distant sailing boats are seen. ‘The women, walk- 
ing toward the right, turn their heads so that their faces 
may be seen as they pass an enormous tree trunk—the 
whole, though European painting, done with quasi- 
Japanese suggestion, in a brown tone. 


Signed at the lower right, de Feure. 


No. 43: 


PIERRE EUGENE LACOSTE 
FRENCH 
1818- 


FEMME JOUANT DU VIOLON ~~ 
Water Color 


y < ret Height, 25 CO a 1814 Ghee ee well 


THE woman, a street musician, a’weary,/—a string of her 
violin broken,—has mounted ‘the, steps’ before a closed 
church door and leans disconsolately against the porch, — 
her bow lying in the dust at her feet. She is of Southern 
European type and wears a black shawl, green waist, and 
a wide, full and ornamental pas skirt, with old blue stock- 
ings. 


Signed at the lower left, P. Lacoste. 


No. 44 


GEORGES DE FEURE 
FRENCH 
Contemporary 


DAME ROUGE AU BOIS 
Water Color 
2 2 —— Height, 81% inches; width, 26/thches f 
: CLVITD 


ANo., 
THE interior of a wood, characteristically painted by this 


artist in fantastic coloring—trees red and blue and green 
before the light of a red sky—a Japanesque sparkling 
waterfall in the foreground. In the center of the decora- — 
tive composition a tall woman, all in red, stands, like a 
weird presence from another world—though in modern 
costume—looking out into space. 


Signed at the lower right, de Feure. 


PASTELS 


TO BE SOLD IN 


THE AMERICAN ART GALLERIES 


MADISON SQUARE SOUTH 


On Wednesday Evening, January 8th, 1913 
BEGINNING AT 8.15 O’CLOCK 


No. 45 


JULES LOUIS MACHARD 
FRENCH 
1839- 


DAME EN COSTUME ROCOCO 
Pastel 
(Soe Height, 81 inches; width, 644 inch 


és y 
en 
A PportTRAIT of a young and pretty lady who is seen head 
and bust in partial déshabillé. Her figure is facing the 
left, but she has turned her head so far to look back of her, 
over her left shoulder, that she is seen by the spectator 
almost full face. She wears a fluffy lace ruche around her 
neck, detached from her gray dress, which, falling from 
her shoulders, exposes part of breast and arm. Her light 
brown hair is dressed high over her forehead, she has large 
blue eyes, and she holds before her a loose bouquet of 
large pink roses. 


Signed at the lower right, J. Machard. 


No. 46 


PHILIPPE CHARLES BLACHE 
FRENCH 
Deceased 


CLAIR DE LUNE 


) 


Pastel 


sw Height, 644 inches; length, 11 ate 
es and houses of a ime in aon 
terminable form, in the dull light of a crescent moon which 
is partly obscured in an evening haze just above the hori- 
zon. In the foreground a shallow pool, or stream, its 
boundaries not distinguishable in the dusk, reflects the — 
lunar light. 5 


Signed at the lower left, and numbered 13. 


No. 47 


PHILIPPE CHARLES BLACHE 
FRENCH 
Deceased 


NUIT . 
| Pastel 


a dee. Height, 6 inches; mis iaip ee he ae 


A GREEK temple stands in the center of an obscure 
landscape on the far border of a small valley lake. Over 
a hill behind it the moon rises, a warm reddish-yellow, 
half of the full orb being seen above the blue hill-crest, 
and reflected, as are the pillars of the temple, in the still 
and silent waters of the lake. 


Signed at the lower right, dated 1897 and numbered 48. 


oc ue 


_FREN CH 
_ Deceased 


i Be ctel . a 4 
614 inches; length, er fi ieee Bee 


Mg on 


d oo of almost(/fantastic coloring, 
lights « of the close of day. The sky is 
a predominant blue aloft, and a red- 


oreground are to be seen buildings at 
Be ne the trees. 


No. 49 


J. SERRET. 
FRENCH ~ 
Contemporary 


mt BY Ba ; Pastel 
) es ‘Fi ht, 814 inches; length,13%4 inche - 
I ee 
Two CHUBBY tans, one in pink and one in blue, are 
: perched upon a stone seat in the fields, where other chil- 
_ dren and their elders are laboring. A little girl somewhat 
e older than the babes is giving them a drink of water from 
‘i a bluish-green jar, bending over them in a graceful atti- 
a te _ tude—the tow-haired cherub who is awaiting his turn for 


a _ the water gazing wide-eyed and solemnly up at her. 


Signed at the lower right, Serret. 


| No. 50 
PHILIPPE CHARLES BLACHE 
: FRENCH. 
Deceased 
PAYSAGE AUX SAPINS © 
Pastel 
Height, 1234 inches; width, 9% inches 


Coie oi 


THEIR trunks are brown and their green Sravictens eXx- 
hibit blue lights, but as to their general configuration the — 


two tall fir trees, which grow in the foreground of the 
picture, rise in strong silhouette against a light-flooded 
mountain side which is seen across a valley, all aglow in 
flame-hue, yellow and purple. 


Signed at the lower right, dated 1884 and 1896 and numbered 
38. 


No. 51 


CHARLES LAPOSTOLET 
FRENCH 
1824- 


BATEAU A VAPEUR 
Pastel 
ies Height, 1214 inches; Bees 814, inches 
SomE trees which have grown in a group/on the shoré of 
a stream occupy the middle distance, Stowe the left, with 


some men standing back of them in the shelter of a low 
tower. ‘To the right of the trees a freight steamer is 


moored, at the bankside, and ahead of it some small boats 


have been hauled out on the sloping foreground shore. 


Stamped at the lower left, Vente Lapostolet. 


No. 52 


MARY CASSATT 
AMERICAN 
Contemporary 


MERE ET ENFANT 
Water Color 


Height, 122 inches; widt 
ott ee eight, 4 inches; width, oly id y, Le me 


A MOTHER Wearing a gray-white gow1/‘s seated in a chair 
of a bedroom, one arm clasped about her chubby infant, 
who in a deep blue frock stands on her lap with one fat 
arm on the mother’s shoulder. ‘The mother is seemingly 
in the act of undressing her child. The baby, finger in 
mouth, wears a very intent expression, though looking 
into distance, and his round head hides his mother’s face 
from view. 


Signed at the lower right, Mary Cassatt. 


No. 53 


CAMILLE PISSARRO 
FRENCH 
1810-1903 


PAYSANNE—ETUDE 
Pastel 


Vib» ro Haght, 914 inches; length, 12 ing ae () 
ADL KEL 
THIs Pete is of the full-length figure of easant Woman 


in a bluish-green dress, blue stockings and clumsy shoes, 
seated lazily on the ground, her hands clasped in her lap, 
and gazing afar off. She has yellowish-red hair and is 
seen in profile, turned to the left. Presented to Tadamasa 
Hayashi by the artist. 


Signed at the lower left, C. Pissarro, 1890. 


No. 54 
HILAIRE GERMAIN EDGAR DEGAS 


FRENCH 


: — :1884- | | 
“BOHEMIENNE” : me | 
Pastel ae 


Qo «— Height, 12 inches; width, 9% inches (Oe 4 
THE title given to this picture, whether taken as meaning __ 


gipsy, or as meaning a Bohemian, seems to be a mistaken 
one, both from the costume and an inscription in the upper 
left hand corner which reads “Ballet de Faust—Kgyp- 
tiennes.” Though written in a hand resembling that of © 
Degas in his signature, however, this inscription is further 
confusing as there is no Egyptian ballet in “Faust,’—and ~ 

the artist would hardly write “Faust” if he were thinking 

of “Aida.” It requires no caption, however, to make the | 
expressive drawing clear. z 
One of Degas’s strangely drawn figures of the stage 

this one a heavy, sturdy, woman dancer, in a flowing, 
semi-transparent robe girdled by a broad red sash, corre- 
sponding to her red headdress, with her brow bound in = 
light yellow. She is seen in a peculiar attitude, partly 
back to the spectator, but turned about so that her face, 

as she leans over as though to pick up something, is three- 
quarters to the front. ; | | 


Signed at the lower right, Degas. 


No. 55 


PHILIPPE CHARLES BLACHE 
FRENCH 


Deceased 


CLAIR DE LUNE 
Pastel 
Height, 12 inches; width, 9inches 


Vi WHITENED cottage, its thatched roof purplish- Q. dell 
the moonlight, occupies the foreground, and with a tall 

pine tree that rises behind it, high in silhouette above the 

lowly ridgepole, almost fills the picture. An end of the 

house and the sky beyond the pine tree are bathed in a 

cool, greenish, lunar glow. 


No. 56 


PHILIPPE CHARLES BLACHE 
FRENCH 


Deceased 
CHAUMIERE SOUS ARBRES 
Pastel 
i <— Height, 111% inches; length, eee inche 
“ 6k 
A HUuT appearing dilapidated but Ae hae attractive 
stands amid a grove of low-branching trees, which throw 
the ground between them into deep shade, while beyond 


the cabin a flood of light bursts among the farther trees, | 
in a golden contrast to the cool green of the shaded nook. 


Signed at the lower right, dated 1879 and 1889, and numbered 
36. 


No. 57 


CHARLES LAPOSTOLET 
FRENCH 
1824 


RUE SOUS LA NEIGE 
Pastel 


pe Height, 12 inches; length, 1444 in 
ae y wes a 


Ir is a dull winter day, with just enough snow fallen to 


whiten the eaves and drift in low hummocks at the curb 


and against doorsteps, in the winding street of an ancient 
town with picturesque and irregular architecture. Some 
of the green shutters have been put up, and a few strag- 
gling pedestrians make their several ways slowly home- 
ward. 


Stamped at the lower right, Vente Lapostolet. 


No. 58 


H. SAUTER 
FEMME NUE 
Pastel 


LM : Height, 8 wedth, L mches 
fesoan lig woman of 


THREE-QUARTER length pr Ree 

full figure, standing nude, facing the left/and so far 
turned about that her back is brought three-quarters into 
view. Her brown hair is done up over her head. Her left 
arm, raised shoulder high, is bent back at the elbow so 
that her hand supports and partly conceals her face.. 


Signed at the lower left, H. Sauter. 


No. 59 


NORBERT GQNEUTTE 
FRENCH 
1854-1894 
DAME EN NOIR 
Pastel 


re we Height, 15%4 inches; width, Te ie Wehe 
EL 


E lady is seen in profile, facing the left, the artist hav- 
ing pictured her head and shoulders. She is young, of 
listless countenance, and pale, with rouged lips, and her 
yellow hair is dressed low on her forehead, all but over- 
hanging her eyes. She is hatless, but with a veil about her 
head and half covering her face, and she wears a black 
wrap. 


Signed at the upper left, N. Geneutte. 


No. 60 


OTTO WEBER 
GERMAN 
1823-1888 


BORD DE LA MER 


Water Color 
\ 
es vaya Ld ie 


oS — Height, 11 inches; length, py | 

ey 
Tue deep bluish-green water of the sea comes We gently 
at the left, mildly splashing in thin lines of white foam 
upon outlying rocks along the edge of a boldly rolling 
coast line. ‘The day is sombre, dull gray clouds sagging 
low, and the more or less barren coast, with its faded green 
and red-sandy hues, appearing dull in sympathetic dejec- 
tion. 


Signed at the lower right, Otto Weber. 


No. 61 


FEDERICO ZANDOMENEGHI 

ITALIAN 7 

1841- 

TETE DE JEUNE FILLE : 


Pastel prawd (Ave . 
! : 
/7 °2- — Height, 1634 inches;"width, 114 inches | 


THE head of a pug-nosed young girl, seen full face but 
turned slightly to her right, her eyes directed somewhat 
downward. Her dark hair exhibits reddish lights over her 
forehead, and she wears a light blue waist, loosened at the 
neck. 


Signed at the lower right, Zandomeneg hi. ; 


No. 62 


FEDERICO ZANDOMENEGHI 
ITALIAN 
1841- 


TETE DE JEUNE FILLE, SUR FOND VERT 


Pastel / Cae fe 


1 a Height, 1514 inches; width, 12 inches 


THE young girl, shown head and shoulders, wears a white | 
frock which falls well away from her neck and clings over 
the shoulders. Her brown hair, brushed carelessly from 

her forehead and draped loosely down her back, frames 

her fair face—with its deep blue eyes—against a back- 
ground of solid green. She appears almost full face, 
turned slightly to her left, whither her gaze is directed, 
and exhibits in her right ear a blue earring. 


No. 68 


FEDERICO ZANDOMENEGHI 
ITALIAN 
1841- 


TETE DE JEUNE FILLE 
| Pastel 


4(6 Height, 16% inches; width, ek 2 Cul. 


A YOUNG girl of peasant type, dressed in a loose, blue 
house jacket, is shown head and shoulders and facing three- 
quarters to the left, so that her face is seen almost in pro- 
file. She has blue eyes, full red lips and red cheeks, and 
a retroussé nose; and her black hair, through which green- 
ish lights play, is done up in a saucy knot and decked with 
a bit of red. 


No. 64 
FEDERICO ZANDOMENEGHI 
ITALIAN 
1841- . 
TOILETTE 
Pastel 


soa te yee Height, 18%4 inches; ee he hee ores 


} belt Cle, 
Two YOUNG women are shown in their pe room ft 


their toilette, one adjusting her corsets before her psyché; 
she stands back to the spectator, her head turned to the 
left to look into the mirror. Her comrade who stands near 
by—her own toilette no further progressed—is leaning 
forward, at the moment, arranging her garter, her head 
so far lowered that her face is not seen. 


Signed at the lower right, Zandomeneghi. 


No. 65 


ARMAND GUILLAUMIN 
FRENCH 
1841- 
TETE DENFANT 
Pastel 


,¢ Height, 15 inches; ae cg we 


eae 


A SMALL girl with an eee face ae ae 


tures appears in head and shoulders against a ght an 
dark green background, the curiously variant lights of 
out-of-doors playing upon her serious face and unkempt 


hair—an early plein air exposition. 


Signed at the lower right, Guillaumin, *79. 


No. 66 


HILAIRE GERMAIN EDGAR DEGAS 
FRENCH 
1834- 


FEMME DESH ABILLEE 
Pastel 


| .e« Height, 171% inches; width, 944 inches 
oOo i @ : ; : Coats 


A stouT woman, nude, just emerged from the bath, her 
back turned to the spectator, leans forward, supporting 
herself with one arm on the furniture while with the other 
hand, extended, she is drying her foot with a towel. A 
study of flesh against blue tones, and warm reds on the 


floor and wall. 


Signed at the right, Degas. 


No. 67 


HILAIRE GERMAIN EDGAR DEGAS 
FRENCH 
1834- 


PAYSAGE 
Pastel 


-cHeight, 111% inches; length, 151 inches 
Ree ee ea Deh aaa 
A STEEP, seamed and es acclivity rides at the right, 
mounting out of. the picture, from a colorful and varied, 

_ but inhospitable and uninviting foreground. From the 
left a road entering the middle distance and winding about 
a knoll, conveys an intimation of a habitable country some- 
where beyond. A landscape of ruggedness and rigor. : 


Rak 2 


_ Signed at the lower right, Degas. “Vhs. 7h 


No. 68 


HILAIRE GERMAIN EDGAR DEGAS 


FRENCH 
1884- 
PAYSAGE AVEC EAU 
/ o sti . Pastel 
Height, 11% inches; length, 151, inches et p 
RIE eer! e 


A sTREAM with its confluent and a narrow offshoot is pic- 
tured in a more or less barren landscape, which it makes 
interesting through the odd forms arranged by its inter- 
secting liquid lines. 


Signed at the lower left, Degas. 


No. 69 


HILAIRE GERMAIN EDGAR DEGAS 
FRENCH ° 
1834- 


 SENTIER DE PRAIRIE 
Pastel 
Oy-g = Height, 1134 inches; length, 151/2 inches 


A STRAGGLING path winds upward—its way looking not 
unlike the reverse course of a swift-descending brook— 
through a yellow-golden hillside field bathed in sunshine, 
and vanishes over the top of the rise in the shadows of a 
woodland. 


Formerly exhibited as a plain “Paysage,” apparently, 
when passing through the hands of Messrs. Durand-Ruel 
& Co.; the hillside of the picture does not itself suggest the 
“meadow” referred to in the newer title. 


Signed at the lower left, Degas. 


Pe eee Te ee ee 


er ROCHEUSE 


Peay oo 
_ Tue blue-green sea from right and left runs up on both 
sides of a low, sandy strip of shore, bearing scant vegeta- 
- tion, leading from the foreground back to a rocky coast. 


ee aA Mi age Panels Ae dele Lah Mg 


No. 70. 


HILAIRE GERMAIN EDGAR DEGAS 
FRENCH 
1834- 


Pastel 
_ Height, 1184 inches; length, AZZ inches 


The coast looms grim in its desolation, the gray rocks here 


yellowed over with iron-rust, there greened with the mois- 


a 


( 4 Height, V1 inches; width, 19 ee 


_ ture of the climate—everywhere rugged and weathered. 


| Signed at the lower left, Degas. 


sa 


No. 71 
HILAIRE GERMAIN EDGAR DEGAS 
i FRENCH 7 
Ate 1834- 
DANSEUSE + 
Pastel 


- 


SHE might be called, “The Girl of the 
this young woman in ballet costume, leaning over, right 
elbow on knee, her other hand reaching down to grasp her 
ankle as if to attend to something there. Her head is bent 
so far forward that only the top is visible, and her slight, 
bright green headdress is so rendered that at first there is 
the illusion of green hair—the complement of some familiar 
and pronounced reds, of the stage and elsewhere. 


Signed at the lower right, Degas. 


No. 75 


ARMAND BERTON 


» 


FRENCH 
1854- 


DAME SE COIFFANT 
Pastel 


ee wes Height, 1742 chess width, 14% inches 


TuHE half-length figure of a young woman seen from the 


back as she dresses her reddish-yellow locks. With her left 
hand the sitter has gathered her tresses into a bunch at the 
base of her head, and they flow over her arm, revealing the 
upper back and neck as she turns her head toward the 
right. She wears a blue underwaist, low at the neck, 
where the flesh tones, between the blue of the waist and 
the reddish hair, and the graceful curve of body as the head 
is turned away to the right, have caught the artist’s fancy. 


Signed at the lower right, Armd. Berton. 


ee a ae 


No. 76 


H. BOUKER 


PRES DE LA FENETRE 
Pastel 


Jet — Height, 22 inches; width, ae Pe nate 
A young lady of pleasant features‘and slig y tip-titled 


nose is seated at a window in the winter time, sewing or em- 
broidering on some white material gathered in her lap. 
She is dressed in dark colors and the room itself is dark 
except at the window, so that she appears almost in 
silhouette as it were. Through the window panes are seen 
outlined the bare branches of a tree. 


Signed at the lower left, H. Bouker. 


No. 77 


GEORGES CALLOT 
FRENCH 
Nineteenth Century 
DAME | 
Pastel 
5a Se inich?. 2014 imches; width, 154 gle 


Pie: UA Yv AA 
A YOUNG woman with light brown /hair, her head poised ~ 


over her right shoulder, glances smilingly in the direction 
of the spectator, with some pale yellow or tea roses that 
have decked her hair falling about her neck. She is seen 
head and bust, a single blue wrap that has dropped from 
her shoulders clasped with one hand below the exposed 
breasts. 


Signed at the upper right, Georges Callot. 


No. 78 


¥ 


LOUISE BRESLAU 
GERMAN 


1856- 
DAME 
- Pastel 
Height, 23% inches; width, 164 mches 


THE artist has drawn the portrait, in head and shoulders, 
of a lady with clear hazel eyes whose features have the sug- 


gestion of a smile, though in repose, and who looks straight _ 


at the spectator, her head slightly tilted toward her right 
shoulder. She is dressed for the street, her jacket buttoned 
to the neck, and her lips are a vivid pink. 


Signed at the lower left, L. Breslau, 1891. 


=e Se | 


aS 


No. 79 


MARY CASSATT 
AMERICAN 


Contemporary 


DEUX TETES DE FEMME 
* Pastel 


Height, 15 mches; length, 21 inches 
C05 O—— Dede Les) C 
Two youne women, both self-contained and moderately : 
ageressive, wise each in her own belief and way, are de- 
picted, head and shoulders, as in a temporary pause in a 
conversation or an argument. One, with plump outlines 
and deep russet-brown hair, whose light green and pink 
house gown can be seen on her shouiders, is figured in pro- 
file facing to the right. Her interlocutor (all but her 
head screened by a red fan which she carries), is dark- 
haired and dark-eyed, and looks at her plump companion 
searchingly and questioningly. 


Signed at the upper left, Mary Cassatt. 


No. 80° 
PHILIPPE CHARLES BLACHE 
FRENCH — 
Deckascd 
CLAIR DE LUNE 
: Pastels 
/ Retest Height, 18 inches; wise 2334, inches 


In the greenish, blue and gray mists of moonlight, a land- 
scape of hills and valley appears as if in the process of crea- 
tion and still coming into being. In the foreground a 
group of dwellings is well defined, and back of them trees 
are beginning to assert themselves, but in concilliatory 
aspect, while beyond, over the distant hills, the moon is just 
appearing, and leaves their outlines vague against a still 
somber and o’erclouded sky. 


Signed at the lower right, dated 1882 and 1887, cae numbered 


58 © 
No. 81 
LOUISE BRESLAU 
GERMAN 
1856- 
JEUNE FILLE 
Pastel 


= Height, 24 inches; width, 16°4 in 

Fig) Bee, helewidl 
A YouNG girl of quiet and thoughtful expression is seen at 
half-length, standing, facing the spectator, and looking 
intently to her right. Her brown hair is falling over her 
shoulders, which are covered by the over-folding long- 
pointed collar of her white and lavender gown. Just below 
the front of the low-hanging collar a wide black sash binds 
her high waist. 


Stgned at the lower left, L. B. (in a monogram), 791. 


No. 82 


MARY CASSATT 
AMERICAN 


Contemporary 


JEUNE FILLE LISANT 


Pastel 


pagent, 2194, inches; width, TZ ee 


SEATED at a table facing the spectator al sie SNe inl is 
reading a book which lies open in front of her. Her 
flaxen hair is banged over her forehead and brushed 
straight but loosely back over her crown. She leans with 
one elbow on the table, resting her cheek on the hand, and 
with the other hand fingers the leaves of her book. Her 

_ features are clearly marked and her cheeks are almost as 
pink as the lower sleeves of her blue frock. She is shown 
against a neutral background. 


Signed at the lower left, Mary Cassatt. 


No. 83 
CAMILLE PISSARRO 


FRENCH 


1810-1903 


PAYS ANNES : 
Pastel 


Height, 18 inches; length, 22% inches 
RE ne Me CG Gaal 


Two sTuRDY peasant women are pictured in characteristic 
attitudes and with much homely attraction. One, with 
her arms bare to the elbow, stands,—head bent down- 
ward, as ever,—holding under one able arm.a bundle of 
sheaves at her waist. She wears a gray blouse and an 
old-pink skirt. The other woman—somewhat younger 
but with heavy features and vacuous expression—clad in 
blue, with a red and yellow headdress, stands carelessly 
by, with her heavy hands resting on her wide hips. 


Signed at the lower right, C. P. 


No. 84 


EUGENE VIDAL 
FRENCH 
Nineteenth Century 


JEHUNE FILLE 
Pastel 


Height, 231 inches; Be LT schon // 
Cie wpe 


A TRIM young girl in street attire is shown at three- 
quarter length, back view, her head turned to the left so 
that her face is seen in profile over her shoulder. She 
has regular features and looks steadily at something be- 
low her at her side. Done throughout in neutral tones. 


Signed at the lower left, E. Vidal. 


No. 85 
HILAIRE GERMAIN EDGAR DEGAS 
FRENCH 
1834- 
BAIGNEUSE | 
Pastel 


D7 £7 —Height, 21 inches; width, VY inches 


young woman of ample figure is climbing into a bath 
tub, which reflects blue and purple lights save where a 
white towel is thrown over its rim. The varied lights and 
their reflections on the nude flesh of the bather’s back and 
side, which are toward the spectator, have made an inter- 
esting study together with the drawing of the flexuous 
pose. 


Signed at the upper left, Degas. 


Al 4 ee ee 
In a room with warm-hued walls of a Yellowish tone, a 


ye 
Y 
LAA Ke 


eo 0 Sd ee ae ton be oP Cee PAN AOD ey Ee ee” Na a ae ee es ~~ Oe ee es et * Set 
7 ie} Pe TSE ee Che btn Porgy ma Ae Oh te ety allege -o ght ON den a ae ee 
ase, Sa tC ee CORED EMEC GMS mamma re EMC te ye Y me a He 
Ate Are coma Oar ULE, Wire (Ha | it Rea ae hs im 
vey > os ‘ Gy ‘ cee Me icy, 5 Sts ee ate ee 
bs ‘ x . os vo } Sh od le 
7 ¥ 4 y 4 Un eerie “Din 
‘ + 7 ras uM y 
uf 
, Pe isk 
, 49 
4 
‘ 4 


No. 86 


FIRMIN-AUGUSTE RENOIR 
FRENCH 
1841- 
FEMME DEMI-NUE 
Pastel * 


Loa —ye — Height, 23% inchessywylth, ee inches 


A YOUNG woman with sapphire-blue eves and light hi eg eg 

hair is seen at half-length, and looking directly at the bet 

spectator, her lips parted. Her single, bluish-white, filmy 

undergarment has slipped from one shoulder below the _ 
well rounded bust, and the painter has studied the tones 

and mottlings of the neck, breast and arms. 


Signed at the lower left, Renoir. 


No. 87. 


HILAIRE GERMAIN EDGAR DEGAS 
FRENCH 
1834- 


TOILETTE MATINALE 
Pastel 


/ ub 6 0 — Height, 231% inches; width, 17 inches ee 


A. YOUNG woman has arisen from bed and stant partly 
dressed, braiding her yellowish-brown hair, at a wash- 
stand that holds a blue bowl and pitcher. Her figure is 
slim, and as she turns her head sidewise and tilts it back 
for convenience at her braiding, her still sleepy face is 
seen in profile. 


Signed at the upper right, Degas, ’94. 


No. 88 


HILAIRE GERMAIN EDGAR DEGAS 
FRENCH 
1834- 
FEMME SUR LIT 
Pastel 


Height, 1934 inches; length, 251 inches 
aco Bente 
A WEARY young woman in a negligée garment—quite 
likely a tired model, resting—has rolled the wrap down 
from her shoulders and thrown herself carelessly forward 
upon a divan, one knee curled under her, one foot resting 
on the floor,—her torse among the pillows, her red-brown 
hair falling over her back. Her face, turned three-quar- 
ters front, lies against her right hand upon the pillow. 
The other arm is extended backward along the back of 
the sofa, and vari-colored draperies are scattered about. 


Signed at the lower left, Degas. 


No. 89 
PHILIPPE CHARLES BLACHE 


FRENCH. 


Deceased 


PRINTEMPS : 
Pastel 
Height, 2614 inches; width, 201 inches 


yee va ae aot ek : 
cee Cieee in Isére, in the ecutheaat of France, with the 


Grenoble spire which Blache found so interesting as the 
principal architectural feature of the composition. This 
old clock tower of Grenoble is one that the artist studied — 
many times, rendering it, as he says on the back of this 
picture, from month to month of the year, in the vary- 
ing weather, sometimes depicting also the mount behind 
it, known locally as “Nero’s Helmet,’ which is visible 
when the weather conditions are favorable.* (‘The 
French text of the inscription on the back appears here- — 
under.) Here the spire is already in -+the evening 
shadows—the month is March—although the curious 
mountain beyond it is still alight with the sun’s late rays 
aloft, and the sky is yet light and blue, with tinges of sun- 
set. Alow, on every hand, the church tower below the spire 
is embraced in masses of blossoms, which seem strange of 
hue in the evening light, and mount to the very top- 
most twigs of the tall trees. _ : : 


Signed at the lower left, dated 1894 and 1897, and numbered 49. 


*“Variations selon les mois de l’année . . . et le temps qu’il fait 
sur ce motif: ‘Un vieux clocher de Grenoble—ayvee—derriére— 
visible parfois . . . selon le temps . . . le mont qu’on appelle 


9 


la-bas “‘Casque de Néron.”’ Ceci est un soir de Mars.” 


a aslo 


No. 90 


PHILIPPE CHARLES BLACHE 
| FRENCH 


eves Deceased 
LA NEIGE 
Pastel 


S$ Q<¢ Height, 291% inches; width, 2434 inches + 

Ir is snow, but snow without col a ow on the or 
ledges and in the crevices; snow on the bare branches of 
the trees; and snow in the air. The spectator looks from 
a window or eminence through the interlaced, snow-laden 
branches of the trees, toward a great church or cathedral, 
which seems partly buried in the snowfall. 

The building is the old church at Grenoble, which Blache 
painted in all weathers and all seasons, studying it with 


care under the different meteorological conditions. _An- ° 


other view which he had of it in winter, when the snow 
was also plentiful, is to be seen in No. 135 among the oil 
paintings of thiS collection, with the curious mountain 
known as “le casque de Néron” in the background. Both 
spire and mount, seen from a slightly different point of 
view, appear again in the pastel No. 89 of the collection, 
the season then being Spring. 


Signed at the lower left, dated 1894 and 1897, and numbered 4'7. 


OIL PAINTINGS 


TO BE SOLD IN 


THE GRAND BALL-ROOM 


OF 


Pe PLAZA 


FIFTH AVENUE, 581Tx TO 59tne STREETS 


On Thursday Evening, January 9th, 1913 
BEGINNING AT 8.15 O’CLOCK 


No. 91 


EK. ROSSANO 
' ITALIAN 


Contemporary 


RUINES ROM AINES 

a, eee Bb 
A sxetcH of some ancient ruins—irregularly br 
walls—of dull reddish tone, over a sand-colored plafnh,— 
and in the distance two wooded mountain summits under 


a blue sky. 


Height, 612 inches; length, 101% oa 


Signed at the lower right, Rossano. 


No. 92 


E. ROSSANO 
ITALIAN 
Contemporary 

ARBRES EN AUTOMNE 
/ Se Height, 1034 inches; egy, ae sie y 
A. ¥FEw rocks in the foreground, the crest of a rollin U/ 
field,—and two scragegly trees rising against a leaden sky. 
Their leaves have mostly fallen. Up the trunk of one the 
clinging ivy is still green. At the foot of the trees a few 
scrawny field growths, yellowed of autumn, rise over the 
dark green grass. 


Signed at the lower right, Rossano. 


No. 93 


VICTOR VIOLLET LE DUC 
FRENCH 


Contemporary 


POMMIERS EN FLEURS 
Panel 


ob Height, 7 inches; length, Oe 
Ces VIA. 


In an open field freshly carpeted with eee 
Spring grass, lines of apple trees are ablaze with their 
white and pink blossoms, which in profusion adorn the 
scrawling and irregular branches. In the middle distance 
are discerned the figures of people who have come out to 
enjoy the season of these ever-fascinating arboreal 
flowers. 


Signed at the lower left, V. Viollet le Duc. 


No. 94 


VICTOR VIOLLET LE DUC 
FRENCH 


Contemporary 


COUCHER DU SOLEIL 
Panel — 


De Height, '(34. inches; Bisih, 10 aes ff, 
See Pee wn 

THE blue water of a river which tae the fore- 4 

ground, and is seen extending back into the landscape, 

mirrors a robin’s-egge blue sky. ‘The river’s course is 

through a land mainly low, and gently sloping to the 

right. In the middle distance at the water’s edge a 

slender tree or two rises, on the left; and beyond them, 

at the far horizon, the sun is sinking in a pink glow below 

the low land. 


Signed at the lower left, V. Viollet le Duc. 


No. 95 
EK. ROSSANO 
- ITALIAN 
Contemporary 
LISIERE DU BOIS 
ft Height, 1034 inches; width, 7 Anch 
ae ee 


Her: is pictured a shallow gully at the edge of a d— 
a tall bush at its foot; its sides, up and between which the 
spectator looks, lined with abundant green underbrush. 
A little V- or U-shaped patch of sky is visible at its far- 
ther end as the eye follows its upward course. 


Signed at the lower right, Rossano. 


No. 96 
EK. ROSSANO 


ITALIAN 7 
ae Da suse 8) 
LE FLEUVE 
rae ow 3 Height, 5 wnches; vet eee 


A LONG, low, flat boat, setting 1G own in the vata 


seen in the central foreground, in the broad river Which © 
flows across the canvas, its farther bank high, mud- 

bordered and grass-topped. Beyond the level plain which | 
forms the grassy bank-top, the land rises at an easy slope; — 
and plain and hillside are dotted with cottages, ps 
sketched amid indeterminate trees. 


Signed at the lower Bye Rossano. 


No. 97 


FIRMIN-AUGUSTE RENOIR 
FRENCH 
1841- 


PORTRAIT D ENFANT 
Height, 101% wmches; width, 7% inches 


Le dinber cass Varro he eee 
TuE portrait of a pudgy-faced, golden-haired child with 


large, deep blue eyes and rosy cheeks, who is shown head 
and shoulders and facing the left, the head turned three- 
quarters toward :the spectator. The child is clad in a 
rough blue jacket. The hair, which falls loosely over the 
shoulders, is brushed smoothly down in front, in a straight 
bang, over the low forehead. 


Signed at the upper right, Renov. 


No. 98 
GIUSEPPI DE NITTIS 


ITALIAN 
1846-1884 


LA COTE 
Panel 


Height, 614 inches; length, wy ae Vohre. 


Aaa sketch of a mountainous and roc y coast, pert 
haps Italian, and a partly landlocked bay on which somte 
black-hulled sailing ships, of square rig, ride at anchor in 
the distance. ‘The rocks are of burnt orange tinge, the 
hill or mountain tops are obscured in purple mists, and 
the quiet water is of the hue of the green turquoise—a 
big land- and sea-scape within small compass. 


Signed at the lower right, De Nittis. 


whtAFER __ 
i 


No. 99° 
VICTOR VIOLLET LE DUC 


FRENCH 
Contemporary 
ARBRES AU BORD DUN FLEUVE 
Panel 
ay Height, TAnches,; length, 12V inch 
pe cig” ep fy Aine ln inche 


In the tones and the quality of the water anM)the sky 
there is a suggestion of Boudin here,—in the blue river 
which moves slowly at the right, under a sky less blue 
only because of the multitude of gray-white clouds which 
make the great world-dome populous. The foreground 
presents low-lying green fields, which are crossed by a 
riverside footpath leading to a cottage sheltered beneath 
a compact group of trees that give to the picture its title. 
At the right the broad river sweeps in a great bend, in- 
denting the left-hand shore, and long rowboats rest at 
intervals with their noses against the grassy bank. 


Signed at the lower left, V. Viollet le Duc. 


No. 100 


VICTOR VIOLLET LE DUC 
FRENCH. 
Contemporary 
L’ETANG 
: Panel 


> 7 jo Height, 7 inches; length, ops is Sa erie 
ONE corner of a pond appears in the foreground—blue, : 
save where its limpid sheen reflects the rushes and verdure 
of a bordering meadow at the left, whereon cattle graze. 
At the right arises a mass of low, bush-like trees, at whose 
base the shadows deepen over the water. 


Signed at the lower left, V. Viollet le Duc. 


No. 101 


VICTOR VIOLLET LE DUC 
FRENCH 


Contemporary 


ETANG AVEC VILLAGE 
Panel 
j jets Height, 8 inches; length, Fae 


; ey 

AT the left the head of a et aa coming up, in the 
foreground, to a broad, irregular road, which, extending: | 
into the distance, is lost amongst a grove of trees beyond 
the pond. To the right of the road, in the middle dis- 
tance, the houses and other buildings of a village, with 
red roofs visible here and there, are banked against a 
green hillside which forms the boundary of the picture. 
Some of the villagers are seen about, in the bright light 
of a clear day. 


Signed at the lower left, V. Viollet le Duc. 


No. 102 


VICTOR: VIOLLET LE DUC 
FRENCH | 


Contemporary 


PRINTEMPS 


Panel 
® 


a7 ve Height, 12 inches; width, eye 
THE gable of a high-peaked roof, Co WU chertes 


chimney top, abuts at the left of the composition before 
the end elevation of another high gabled building, both 
apparently dwellings in a kindly country. A blossoming 
apple tree intervenes between the houses, and beneath it 
at the end of a shed, or lean-to, a woman has scattered 
feed for the chickens, which cluster about her on the 
sward. 


Signed at the lower left, Viollet le Duc. 


No 103 
VICTOR VIOLLET LE DUC 


FRENCH. 


Contemporary 


FERME AU PRINTEMPS 


Panel 


o« HMeight, 8 inches; Aength, 12 wmches 
eae me iO “2, Ri 
A BRILLIANT moment made permanent. The charm o 


gloriously bright Spring day, when all Nature was sing- 
ing in the country, becomes potent, personal and direct, 
in a pigment so delicate that the medium itself is for- 
gotten. ‘Thatched-roof farm houses and outbuildings are 
almost screened from sight by a wealth of blossoming 
trees and shrubs and plants, which surround them, in a 
level green field as fresh as the season itself. Before one 
of the cottages a woman in a red waist and blue skirt 
brings humanity into touch with the vernal beauties of 
outdoors. 


Signed at the lower left, V. Viollet le Duc. 
A pendant to No. 104. 


No. 104 


VICTOR VIOLLET LE DUC 
FRENCH 


Contemporary 


_ FERME AU PRINTEMPS 


Panel 
A gee vo __— Height, 8 inches; length, ane S 


A FRENCH farm house with its outbZildinge 4 is eee 
part of the group is seen—in the center of a flat plain at 
the edge of a low, round-topped hill. Abundant foliage 
on slender limbs and branches rises before and over some 
of the buildings, screening them from view. A haphazard 
footpath winds over the verdant plain toward the main 
cottage, losing itself to sight before the door in the lux- 
uriant new greenery of tree and bush surrounding the 
dwelling. Over all is a kindly sky of pale azure, beyond 
a low floating mass of vaporous fleece. 


Signed at the lower left, V. Viollet le Duc. 
A pendant to No. 103. 


ele bod / 


No. 105 


VICTOR VIOLLET LE DUC 
FRENCH 


Contemporary 
FLEUVE AVEC UN PONT 


Panel 


Height, 91 inchs; on 13 Cee 
oboe 


A PLACID river pursues its Leg 1 course locale green 
fields,—with lush verdure covering the low banks to the 
water’s edge,—and amid detached Lombardy poplar 
trees, which stand in small groups and singly, like high- 
placed sentinels, overlooking the landscape. At either 
bank, in the middle distance, small boats are drawn up, 
and on a point of land two men have disembarked from 
one of these. In the distance the eye perceives the gray 
arches of a stone bridge crossing the pastoral stream. 


Signed at the lower right, V. Viollet le Duc. 


No. 106 


EK. ROSSANO 
ITALIAN 
. 3 Contemporary 
CACTUS | 
Height, 81% inches; length, 10 inc 
Lo ye oe 6 f Lae 
THE picturesque forms which the ie cactus take 
caught the artist’s eye for a natural composition. he 
sturdy plants, green and a dullish red, raise their bulky 
outlines in an irregular and picturesque group, below 
which a black-haired, grim-visaged youth or man, in a red 
_ fez, is seen, shoulder-high, against them. Probably a note 
for a large picture. <A sketch. 


No. 107 


EK. ROSSANO 
ITALIAN 
Contemporary 


CHEMIN 


Height, J inches; length,s,11 inghes L /) J 
ieee ae Ao). ee fe. Ula Bae er Atry- 


A SKETCH, in some parts carried pretty Well out, of a flat 
road or street running straight away from the spectator 
toward a hill, which rises abruptly in the background and 
extends across the picture under a clear blue sky. In the 
middle distance a cart containing two persons with red 
hats is coming forward in the center of the tree-bordered 
way. 


‘Signed at the lower left, Rossano. 


No. 108 
E. ROSSANO 


ITALIAN 


Contemporary 


DANS LA CAMPAGNE fee 
Height, 91% inches; length, 12 nehes 4 


Sov ne aes OY ae ane 
A SKETCH or color note to remind the artist of the green, Bee. 
in a flat meadow, that attracted him on a dull day of 
Spring or Fall, when the trees were bare of leaves, and 
brownish bushes rose above the grasses. In the center, — 
the dull mass of a long, reddish-brown building. — 


Signed at the lower right, Rossano. 


No. 109 


-E. ROSSANO 
ITALIAN 


Contemporary 


ALLEE 


s So Height, 8 inches; length, 13 yches 


A skETCH of shadows, and the last horizontal rays/of the 
setting sun, falling from the left across a narrow country 
lane, which is somewhat depressed between reddish, sandy 
banks, that are overgrown with low, green bushes, as the 
lane leads straight away from the spectator—the shadows 


appearing a deep brown between the green borders of tne 
; roadbed. 


Signed at the lower right, Rossano. 


No. 110 


EK. ROSSANO 
ITALIAN 


Contemporary 


UNE ESPAGNOLE 


Height, 14 inches; width, 81 a hed /] vy), 
* fon AL) pe! WON i ayy 


TALL Spanish woman, with dark eveb iw and a heavy 
mouth, her dark hair massed above her head, is sketched 
in an interesting manner at full length, standing, and fac- 
ing front. Her attitude is one of ease and composure. 
Her dress of Spanish red is tinged with yellow and black, 
and she holds at her hip a red fan. 


Signed at the lower left, Rossano. 


No. 111 


PHILIPPE CHARLES BLACHE 
FRENCH 


Deceased 


LA FIN DU JOUR 
2 vine Height, 91% inches; length, 18 inche a 4 viva 


THE high and rounded caps of distafit Jee rise be- 
yond a misty valley, their scarred sides illumined with 
only less color than the sunset sky itself behind them. Be- 
low, in the middle distance and the foreground, the land- 
scape appears snow-covered and iced over, with bushes 
and trees iridescent in the cool, late afternoon glow. 


Signed at the lower left, dated 1891 and 1896, and numbered 43. 


No. 112 | 
VICTOR VIOLLET LE DUC 


FRENCH 


Contemporary 


PEUPLIERS PRES DUN FLEUVE 
Panel | 


4y ee Height, 91% inches; tength 1, inchen 


Tue bank of a placid “— foe hue 


of the light blue sky—is seen clothed in the tender green 
of springtime. Wild flowers are blossoming on its bor- 
ders, at the foot of a group of silvery, graceful, white 
poplars, near the base of one of which a woman may be 
discerned seated upon a rock. Boats are busy on a part 
of the river, and the buildings of a small town dot the 
farther shore. 


Signed at the lower left, V. Viollet le Duc. 


No. 118 


EK. ROSSANO 
ITALIAN 
Contemporary 


GROUPE DARBRES 

/ 7) % Height, 9h, inches; length, 18%, ine 

A Group of massive trees rises in the central foreground 
against a turquoise-blue sky. ‘Their heavy trunks are 
dark against the green background of a neighboring wood 


at the left, their top branches bathed in sunlight. A 
sketch with detail for a larger landscape canvas. 


Signed at the lower left, Rossano. 


No. 114 


EK. ROSSANO 
ITALIAN 
Contemporary 
ROCHERS 
= Piao hg, a thahes length, 151% inches ne y 
bE 
eae TeV wt 


A PANEL-BACKED canvas sketch of masses of gray rocks, 
now outcropping in irregular form in the foreground, 
among sparse trees and the green herbage of a bold hill- 
side, and again rising in tall peaks against the blue and 
gray of a summer sky. 


Signed at the lower right, Rossano. 


No. 115 


EK. ROSSANO 
ITALIAN 


Contemporary 
INTERIEUR DU BOIS 


ae ko Height, 10 inches; length, 13% inches ~4 
Co d ie. Vp el pe, 
A Low, ereen- grown bank bordering a partly open space 
in a wood of slender trees rises at the left of the fore- 
ground. Of the nearer trees the lower trunks only are 
visible, against the green foliage of their more distant and 
lower-growing neighbors and patches of the sky. 


Signed at the lower left, Rossano. 


No. 116° 


E. ROSSANO 
ITALIAN _ 
Contemporary : 
BOIS . 
ios Height, 13 inches; width, 10% inches ag 4 


a YL ae 4 
i; BROWN and well-trodden footpath leads away from the 4 
spectator in a gentle curve, between lines of tall trees, in 
a more or less open wood. ‘The footway is bordered by 
grasses and green undergrowth, which at the left creep up — 

a neighboring hillside, the path continuing on the lower 
level. 


Signed at the lower right, Rossano. 


No. 117 
CAMILLE PISSARRO 


FRENCH 


1810-1903 | 
BAIGNEUSE — | ; 


Height, 181% inches; Ke th, 1014 inches Ups k 


UnpeER the shelter of a a at a river bank a young 
woman has disrobed for a swim, her clothing being dis- 
posed upon a convenient rock or tree stump, excepting a 
single white garment from which she is just disengaging 
herself, as she stands half-nude in the grass. Beside and 
beyond her the stream and clouds are opalescent in the 
warm haze of a summer day. 


Signed at the lower left, C. Pissarro, ’95. 


No. 118 


CHARLES LAPOSTOLET 
FRENCH 
1824 


INTERIEUR DE LA CATHEDRALE DE 
ROUEN 


ye Height, 131% inches; a peng, ae 


A skETCH for the painter and Sate: cates to the 
charm of “quality” in low tones. ‘The dull brown and 
gray of the dim, misty interior of a corner of the vast 
cathedral are relieved—or the somberness is intensified— 
by the high flashing candle lights of a service which is 
going on in the great Thirteenth century edifice; and fig- 
ures are seen at the right and left of a central clear space 
that extends from the foreground to the obscure middle 
distance. 


Inscribed and signed on the back, “Rowen, 27 “bre 1876, 
C. Lapostolet.” 


Nore 
-E.ROSSANO © 


ITALIAN 
Contemporary — 


PAYSAGE DITALIE 
Height, 10 inches; peti 15 j 


ores : 
_ Ow a flat foreground a group of squat, gray out mili {fee 
stands backed against a mass of low hills, which rise pres- i 
ently in broken outline to tall, uneven, rounded crests, _ 
topped at the high skyline by short detached trees. The 
whole landscape a deep green and brown, sketched under a 
a sky of light blue, with dull white clouds. Oe ess 


Signed at the lower right, Rossano. 


No. 120 


VICTOR VIOLLET LE DUC 
FRENCH 


Contemporary 


LA SEINE PRES DE ROUEN _ 


i a - Panel 

> (0 —— Height, 101% ee 

- Te broad river, of a silvery Sn) he just tinged ath 
reflections of the green bank at the left, and gently rip- 
pling in a summer breeze, is populous with the shipping 
of a busy port. The tall masts and: yards of square- 
riggers rise against a blue sky flecked with bits of white 
cloud, the spars of the more distant vessels being blurred 
in smoke and a warm haze. 


Signed at the lower left, V. Viollet le Due. 


No. 121 


VICTOR VIOLLET LE DUC 
FRENCH 
| Contemporary 
_FLEUVE 
| Panel 


/ 4 se Height, 10% inches; length, 16 ig 


: fio river, very likely the Seine, DP state 


right across the picture and forward, bearing numerous 
craft assembled along the margin at a small town thickly 
_ grown with bushy, shady, green trees. Beyond the flat 
_ borderland of the stream, the landscape extends in a high, 
_ even hillside, as far as the eye sees. The whole is bathed 
in warm, hazy light, under a moist and vaporous sky. 
Signed at the lower left, V. Viollet le Duc. 


=i 


| 
POSEN G. 122 


ARMAND GUILLAUMIN 
| FRENCH 
igh 841- 


BORDS DE LA MARNE 
meets Height, 12% inches; ee 45 1/2 pak aye 


Tue water of the river has in places the blue of starch, 
or of slate; again it takes the color of the reddish banks 
where the verdure has been washed away, or of the green 
slopes where the grasses and herbage still cling at the 
stream’s edge. Trees green and blue rise at either side 
of the river, in regular and irregular masses, and the 
swirling clouds of a breezy day are tinged variously in 
sunset hues. 


Signed at the lower left, Guillaumin. 


No. 123 


VICTOR VIOLLET LE DUC — 
FRENCH. 
Contemporary 


LA RIVIERE 


Z = Height, 10 inches; length, imchey — 
ie "4 eet : i of ff Aol 
A. PASTORAL stream, silvery under a light gray : 


threads its way through a flat, green valley, its irregular 
boundaries indenting the land and projecting into the 
river as though but half-heartedly stemming or confining 
the gentle current. Grasses and blossoming wild flowers 
border it on the hither side. Across the stream a few 
slight, graceful trees are growing, here and there. At 
the foot of one group of the trees a boat with a figure or 
two in it is drawn up on the bank, and at the horizon there 
is a line of low hills. 


Signed at the lower left, V. Viollet le Duc. 


No. 124 


CHARLES LAPOSTOLET 
FRENCH 
1824 


DORDRECHT 


Height, 1212 mches; length, 15% wake ae 
oe Ces 4 A Aetifoite 


A putTcH land- aa water-scape in low key,! (aes a quiet 
picture of one phase of Low Country life. A river or 
canal enters the picture, forming the foreground, and on 
its waters floats a cargo boat with a single tall mast, the 
hull almost at the doorways of the buildings on the bank 
at the right. Here, figures are to be seen near the ship, 
and farther away along the stream are suggested more 
buildings of a town. 


Signed on the back, “a Dordrecht, 1872; C. Lapostolet.” 


No. 125 


EK. ROSSANO 
ITALIAN 


Contemporary 


BOIS DU BOULOGNE 


5 Height, 144% inches; Mw, 161 inches 
$78 CR. 
—— A - 


HE Seine is shown at a bend, or elbow, an extended 
stretch of the right bank along the famous park forming, 
with the river, the major part of the composition, only a 
wooded point of the farther or left bank being visible. 
The hither shore in its long sweep is grass-bordered, and 
the trees, some of them sending projecting branches over 
the water, do not grow so near to the stream but that 
plenty of promenade room is left. Here, along the grass, 
a man and woman are approaching, arm in arm. In the 
distance one sees an arch or two of a bridge. 


Signed at the lower left, Rossano. 


inches: ‘width, ay, ne 2. af 
ark, Bee Man anda full ie 


ae ROSSANO 
- ‘JTALIAN 
Contemporary _ 


aay ULL ( 


ese of a green hill which enters the nenie from: 


hit he 


Eeroly, and to a greater height, at the left,—the deep 
cleft. being filled with trees. A road in the foreground is 
bordered by a masonry wall, which, turning to the left, 
: _ becomes a viaduct, pierced by archways, and carrying the 
road over the valley. And | in the distance are more roll- 
ing hills. | | ; oe 


| Signed at the lower right, Rossano. 


YEALIAN ; 
eS 


PAY SAGE ITALIEN © 
We oe Height, 13 i 


~[TRREGULAR hills rise r 
valley dotted with buildings. — In ttle for gt 
winds through a pass among low hills, a 
the foot of a broken wall two children ; are 
and a girl—on the grass. A quiet lands 5 
effect of remoteness, which is scarcely m n 
presence of the children. eee 


Signed at the lower ee Rossano. 


No. 129 


ALBERT LEBOURG 
FRENCH 
1849- 


PAYSAGE AVEC FLEUVE 


i .¢ Height, 141% inches; length 


A sLUGGISH river passes across the canvas, its~/br 
foreground darkening toward the middle distance | 
the shadows of the farther bank and its trees. Behin 

trees, over the last blue hilltop, the sky is alight, and peo- 
pled with purple clouds. The foliage of the far bank 
has the hues of Autumn, and on the quiet water of the 
river float two rowboats, carrying people. RO Che) ane 


Signed at the lower left, A. Lebourg, 1873. 


No. 130 


ALBERT LEBOURG 
FRENCH 
1849- 


EFFET DE NEIGE 


acd ee Height, 15% inches; length, 251 ine is 
Be LIN Arf er 


A RARE, snowy day of winter in Paris, the view tea fig ( 
along a boulevard near the river. The air is seemingly 
charged with fine, drifting snow, though the sky over- 
head has almost cleared, and the sun has struggled 
through the vaporous curtain near the horizon suf- 
ficiently to throw cool, green shadows over the whitened 
roadway. Two great white horses, laboring tandem, 
drag a cart forward, and an occasional pedestrian is 

seen on the sidewalks. 


Signed at the lower right, Albert Lebourg, 1892. Inscribed on 
the back, “Boulevard aw bord de la Seiwme, avec environs de 


Paris. Paysage d@hiver.” 


No. 181 | 


PHILIPPE CHARLES BLA \ 
FRENCH 
Deceased — 
ETANG DANS LES MONT AGNES. 
a ee tte . Haske 204% inches; ‘width, 1b ey ye bar 


/ « 


me ‘aa eae clouds. The near dope of the nearest RE u 
aus covered with verdure and trees, descends to a pc nd. 

: bordered, in the foreground, where the water m 

= . colors of near-by trees and the hues of the distant 


Signed at the lower ers dated 1892 and et see nu ib 


| No 134 Bt me 
ARMAND GUILLAUMIN 
FRENCH | 


pre. 1841 fA g NSA a 


SOLEIL COUCHANT 4A CHARENTON, JUIN, 
1891 Height, 18 inches; length, 2114 inches S the ae 


Tue Seine and the sky are aflame with the chromatic Bree a 
jiance of sunset, as the spectator looks from Charcton | 
westerly across Paris, with familiar monuments of the city 
rising in distant silhouette against the burning heavens. 4 
At the right is a green bank of the curving river. ‘At the 
left, buildings line the shore, and above them the gonfalon 
of industry—a pall of swirling smoke sent from numerous _ 
chimneys—streams out over the peaceful river and mounts 3 a 
toward the effulgent sky. a? 


Signed at the lower right, Guillawmin, ’91. 
The title as given appears on the back. 


eae Clete sree. ae Oa 


ict Pades3 {\ Le sic 


_ PRENCH ie 


a | Deceased 
ae 0 


ua, inches; ah 19 inches 


point of view is from a igh window, 


; ei. Rede a blue ey in the late rays of 
: sun. These MG une nea eee Hv, Grenoble 


stu ied fen at all times of the year and in varied weather 

‘ al hi gehts. A similar composition, in a different seasonal 

as pect, appears among the pastels of this collection in 

ae Gs ringtime’—No. 89 of the group of pastels—and the 
) TINS" ree 

church tower in Winter is seen again, alone, in “Snow,” 


No. 90 of the same group. 
re \ 
ay Signed at the lower left, dated 1893 and 1895, and numbered 5. 


FRENCH > 4 
| 18H 


PRAIRIES . 
Height, 21 hee Tenet 
J-£0 


ter uiidinealt in the middle distance, appears ibe ie 
brilliant BUUREN? of late sunsch ae 0 


Sioned at ‘the lower right, Guillaumin. 


No. 142 


ARMAND GUILLAUMIN 
FRENCH 
1841- 


RUELLE A CROZAN APRES LA PLUIE 
ie poe 21 weted lengthg25\% ine ae 
oe Bs Mey 


A FreEsu and living impression of a a grouping ns 
of peasants’ cottages, trees, and an end of a narrow lane, | 
after a shower. The leafage of the trees is sparse. Many : 

colors are reflected from the path, boulders and por 
and across her cottage doorway, in the middle distance, an 
old woman Sait looking up the path. 


Signed at the oe right, Glee shin. | 


No. 143 


BARDOMENEGHI 


ITALIAN 

LA TOILETTE 

/ ba Hee Height, 251 inches; width, 21 inches 
A YOUNG woman in a creamy-white dressing sacque is 
seated, facing the left, gazing into a hand mirror which 
she holds in her left hand, while with her right she reaches 
up to adjust her dark brown and banged hair. She is 
shown at three-quarter length, and her right wrist is en- 
circled by a red bracelet. Back of her a woman of mid- 
_ dle age and knotted knuckles stands helping her, both 
hands pressing down the girl’s back hair and arranging its 
comb. 


Signed at the lower right, Bardomeneghi. 


Kirondl tek 


No. 144 


EUGENE VIDAL 
FRENCH 


Contemporary 


DAME A OMBRELLE 


- 


vai ; Height, 27 inches; Wes 20 inches 
y seni : | figs 

A YOUNG woman whose hair has sioren red in it so that 
it is not likely to be overlooked, who is walking to the 
right, has turned to look with a mild and questioning 
coquettishness over her right shoulder, so that she is seen 
almost full face, her wise head framed in her open, crushed 
raspberry parasol, with which she screens herself from an 
imaginary sun. She is seen head and shoulders against a 
foliage background, in a black waist somewhat low in the 
neck, and a black hat of a former fashion,—a fetching 
young woman of her time. | 


Signed at the lower left, Hug. Vidal. 


No. 145 


CAMILLE PISSARRO 
: FRENCH ° 
1810-1903 


MAISON DE PAYSAN 


eee 23 inches; length, 281 inches 
J d-1-0 As Pee hile 


THE corner of a prosperous French far yard j is repre- 
- sented in the full green of summer. In the foreground a 
woman in a plum-colored dress and blue apron bends 
over a jar or can on the green lawn, and one of the domes- 
tic animals buries its head in another receptacle behind 
her. Further away a child is at play on a bench, near a 
woman who holds an infant in her arms. Corners of the 
farm buildings project at the right; and beyond the gar- 
den wall, which is skirted by rows of bushes, are seen the 
houses and trees of the neighbors,—all in sunlight, under 
a blue sky with mounds of fleecy-white clouds. 


Signed at the lower left, C. Pissarro, 1892. 


No. 146 


CAMILLE PISSARRO 
FRENCH 
1810-1903 


BAIGNEUSE SEULE 


1B dp «Height, 231 inches; Mii be al 


A coon. woodland stream makes its way through a glen, 
one of its banks showing a small clearing where the sun- 
light penetrates. Here, near a bush under which her 
clothes have been placed, a young woman of yellow hair 
and large figure is seated on the grass, drying herself 
after her bath. The water is filled with green reflections 
of the trees and grasses. ; 


Siened at the lower left, C. Pissarro, 1895. 


No. 147 
ARMAND GUILLAUMIN 


FRENCH. 
~ 41841- 


LE CAP LONG ET LE CASTEL SAGAY 


™ S ba aye yw Height, 23 inches; saad 2812 mches te 


Rep and rugged TOL of a steep coast fill the force ound, 
mounting high at the left, while to the right one looks 
across them to a sea of intense blue in a bright, cold morn- 
ing light. Beyond the arm of water a green and rolling 
coast climbs to more rocky cliffs, and distant hills are 
purple under a sky more green than blue, with sugges- 
tions of feathery clouds. 


Signed at the lower left, Guillawmin. 


Inscribed on the back, “Le Cap Long et le castel Sagay, j&” °93, 
9h matin.” 


() 


‘ee v4 hiss 


No. 148 


SEIKI KURODA 
JAPANESE 
Contemporary 


LE MODELE 


; He ht, 28 inches; O. + 

Febcs & Oe Ute ite 
THE model, a blond-haired woma abo aspect, is 
seated on a stool in an atelier, her black frock dropped to 
below her bust. She is so posed that the spectator sees 
her from one side, as she is turned to face two students 
who are painting her from different positions. A pecu- 
liar, diffused light permeates and overspreads the studio, 
giving to the homely fixings and properties a “quality” 
especially interesting to the student and amateur of paint- 
ing. 


No. 149 


SEIKI KURODA 
JAPANESE 


Contemporary 


FILLE AUX CHEVEUX ROUGES 
eo Height, 311% inches; width, 21 PT 
J poo ee, Uabck 


~ 


OnE of the “little women,” as Paris eens see aged be- 
fore her time—a girl with a woman’s face (and here her 
hands), as though deformed. She stands, her yellow-red 
hair hanging down as if in mockery of conditions and sur- 
roundings, with her back against the bare wall of a poorly 
furnished room, before a chair on which a spoon and a 
broken bowl have been deposited. She is fingering some 
material, as though making preparations to sew, while her 
heavy face, with a story of the ages, is turned three-quar- 
ters toward the spectator. Her short dress is a greenish- 
yellow. 


tae 
1850- BH Se, 


FILLE SUR LE GAZON 


2 vere Height, 93 inches; =e 4 . 


Al BEAUTIFUL young girl, her 8 wis 


mer re One arm rested in her lap mer He aes ghtl 
on the other, the hand posed on the ground a litt 2 way 
from her. One white slipper projects from the Ids 


her skirt. The background is the grass and en ishe 


Signed at the lower right, R. Collin, °95 


No. 151 


SEIKI KURODA 
JAPANESE 


Contemporary 


JHUNE FILLE OS OR ae 
You  -—Height, 31 4 anche width rane h ap 


ee hight Fle from the left fill’ upon her strange Ra i 
At her side grow blossoming marsh plants, about a eal Ss 


Seeks 


No. 152 


ARMAND GUILLAUMIN 
FRENCH 


1841- 
PONT DANS LES MONTAGNES 


Gag 
An arched stone Beare carrying a steep trail over a blue 
mountain rivulet occupies the center of the composi- 
tion,—picturesque in the rugged outline of its abutments 
and the colors of the weathered stones. 'To the right a 
group of tall trees shoot skyward, and ahead is the scarred 
and colorful side of the mountain range, the irregular trail 
climbing up and up, and losing itself in a cleft of the huge 
flank. 


| Height, 2514/2 inches; eee 3134 anes ‘i 
oe be 


Signed at the lower right, Guillawmin. 


No. 158 


ARMAND GUILLAUMIN 
FRENCH 


1841- 
CHAUMIERES A MIREY ANDON 


Ato oS Height, 251% inches; ee ean Liles 


Ir is a June morning with light gray clouds prevail- 
ing after a time of rain or mist, but with no haze left 
over a varied landscape. Brick-chimneyed cottages rise 
in reddish, purple and mottled aspect near two curved 
and leaning trees of the foreground, beyond and about 
them being more trees, and bushes and grass in pro- 
fusion. In the distance is a field under cultivation, 
bordered beyond by a line of trees which appear deep 
blue at the horizon. 


Signed at the lower left, Guillawmin. 


On the back ts written the title, and the memorandum (“le matin, 
temps gris,—? Juin, de 7 hr. ?’’) 


No. 154 


_. ARMAND GUILLAUMIN 
FRENCH 
1841- 


MOULIN A CHARENTON 
eae ., Height, 251 inches; length, 31S, 3/4 inches 


oe Lp Bro VV AL ty SF Ll, ts NA Tu A LANA 
In the midst of a Meshing landscape in/an undulat- 
ing country, an old mill stands in the course of a stream 
whose current runs swiftly among rocks and _ small 
boulders. ‘The big water-wheel is seen at the end of the 
building, in the stream which fills the foreground, 
dotted, as has been said, with small boulders and jagged 
pieces of rock. The rolling hills beyond have trees and 
houses and color, under a bright blue sky streaked hori- 
zontally with white clouds. 


Signed at the lower left, Guillawmin. 


No. 155 


ARMAND GUILLAUMIN 
FRENCH 


1841- 
VALLEE 


wae ine Height, 251% inches; le Ka i 


THE spectator looks across the rounded slope of a hill 
at the right, where sunlight has coaxed flowers into — 
bloom, past green trees whose tops only are visible on 
the hill’s farther side, to a bold, jagged hill beyond, which 
looms high under a strong sky. A landscape of green 
and purple, of trees, rocks and flowers, of hills and chasms 
- and indicated valleys, and of sunshine. | 


Signed at the lower left, Guillauman. 


No. 156 


SEIKI KURODA 
JAPANESE 
Contemporary 


COUTURIERE 


i Height, 3134 inches; widt inehes 
(0G = Wee. eee 


A woman of young-middle age is seatéd at her window— 
a small bouquet of simple flowers in a pitcher on the sill— — 
working at her sewing. She faces the right, and her face 
is seen in profile against the white curtain, as, clad in 
black, she bends over her dressmaking task. 


INO? 157 
CAMILLE PISSARRO 


FRENCH 
1810-19038 


FANEUSES AU REPOS 


_ Height, 25772 inches; length, 3134 oo 


THESE three peasant women, laborers in Ps fields, 


have stopped to rest, and to gossip a little, in the heat of 
the noontide, when in the nearly perpendicular light there 
is scarcely a shadow. ‘They are wearied, yet alert, and 
in the pause in their haying have assembled at the foot 
of a haystack, against the base of which one of them leans. 
Two are young, and all are heavy; the younger ones in 
blue frocks—one bare-headed, one in a red headdress— 
the elder woman, who is seated back to the spectator, in 
old red, and wearing a green head covering tied about 
her ears and under her chin. Beyond them are the fields, 
and on distant hilltops are seen more of the neatly rounded 
stacks. 


Signed at the lower left, C. Pissarro, 1891. 


No. 158 


CLAUDE MONET 
| FRENCH 
1840- 


COTE ROCHEUSE 


Height, 251 inches; Jength, 31%4 inches 
yee 
aoe (AE wre - het: 


THE blue sea in the distance appears under a lively, purp- 
lish-gray sky, the nearer waters becoming a light green 
as they approach the outlying reefs of a rocky coast and 
break in foam on their extended and irregular bases. In- 
shore of these brown outposts of the inhospitable land, the 
water swirls gently and tosses up harmless froth; and then 
abruptly rise sheer, reddish-brown cliffs, ominous and 
solid, and seen by Monet in their solemnity with the 
artist’s eye. 


Signed at the lower left, Claude Monet, ’86. 


No. 159 


EK. ROSSANO 
ITALIAN 


Contemporary 


SIX ETUDES 

; a | 

(a) pk Height, 14% inches; width, Nee Ve alene 
OC 


A SEAMED and sloping hillside of gray rocks, with verdure 
and occasional trees springing up among them,—a large 
fissure or glen in the middle distance being crossed by a 
stone arched bridge or viaduct. 


Signed at the lower right, Rossano. 


AG oe 
Vir Height, 11% inches; length, 16 a : 
A grour of trees, in the country. 


Loe 


Signed at the lower right, Rossano. 


ie | li 
: 3 \ 
Youle Tete Height, 111% inches; length, 16 inches 


LEAFLESS, vine-wound trees, standing in irregular order 
on the broadly sloping top of a deserted hill. 


Signed at the lower left, Rossano. 

D— h 

a nv 60 Height, 101% inches; length, 16 inches 
ae 


Gray and green. An active gray sky over a dull and 
barren landscape relieved by a low line of green trees and 
bushes. 


Signed at the lower right, Rossano. 


a rpc 
Toes 


SrupiEs of irregularly growing trees on the gently slopin 
back of a broad hill. ie 6, . nbd 


Signed at the lower right, Rossano. 


Height, 11 inches; length, 20 mches 


poe 
yack Sap Height, 14 inches; width, 81 inches 
Canvas on wood ,, ves h 
Four trees growing in a group by themselves on the bank 
of a river. 


Signed at the lower left, Rossano. 


od 


ce 
>i po bs ——— 
i, fi: \gat 


No. 160 


CLAUDE MONET 
FRENCH 
1840- 


ENFANT PARMI LES FLEURS Le ey : Op, a 


. Height, 281% inches; length, 36 inches 

A YOUNG girl in a light dress and summer hat—her thick 
brown hair in loose form straggling forward over either 
shoulder—who has been gathering flowers in a bountiful 
garden, comes forward, arm-laden, on one side, with long- 
stemmed blossoms, and carrying in her other hand a basket 
quite as full of her prodigal pluckings. She walks in a 
broad garden path bordered by riotous blooms, which bank 
up against and before a green mass of trees and shrubs. 
The floral bank ceases in the distance and discloses a 
garden wall at the head of the path. 


_ Signed at the lower left, Claude Monet, ’88. 


No. 161 


ARMAND GUILLAUMIN 
FRENCH 
1841- 


PRAIRIE A BREUILLET 
_, Height, 28% inches; length, a 


290 & Se aes 
A FLAT field, freely painted in outdooft/ lights, where the 
middle distance is broken by a line of broadly conical trees _ 
traversing the canvas from center to the right. Beyond 
them at the left, across the meadow of the title, appear 
suggestions of a village. In the extreme distance is dis- 
cernible one of those midsummer illusions of the super- 
horizon which may be a mountainous bank of clouds, their 
contour varied as the sunlight strikes them, or a cloud- 
band overlying and partly obscuring veritable mountains. 


Signed at the lower left, Guillaumin. 
On the back is written: “Prairie a4 Breuillet, Juin, 1870.” 


No. 162 


LOUISE BRESLAU 
GERMAN . 
1856- 


PORTRAIT DE LARTISTE 


: uy 44 inches; width, 38 inches 

: i, y ye A ha MV 
Tuk artist appears in a brown skirt, and a Ad at colored 
waist loose at the neck and with flowing sleeves, seated 
easily in a wicker chair. She is seen at three-quarter 
length, corner-wise of the chair, her left elbow resting on 
the chairback, the arm flexed to support her head. Her 
right hand rests on the chair arm and displays a single 
ring. ‘The features are sensitive and refined, and the 
quiet, greenish-blue eyes look straight at the spectator. 
Neutral background. 


eS 


Signed at the lower left, L. B. (in monogram), 1895. 


No. 168 


LOUIS JOSEPH RAPHAEL COLLIN 
_ FRENCH 
1850- 


Height, 85 inches; width, eae Uch fil 
et 
ding, on a bit of 


A MAIDEN of trim figure is posed, sb 

white drapery thrown over the grass of an open spot in 
the midst of what might be a thick green wood. She faces 
the right, three-quarters front, and leans her head back 
over her left shoulder, both hands raised and folded about 
her head—her eyes lightly closed. Her long red hair 
hangs down her back below her waist and is lightly blown 
out at one side, intervening between the flesh tones and the 
solid green background. 


NUDE 


Signed at the lower left, R. Collin, 1893. 


Exhibited at the International Exhibition at Copenhagen. 


No. 164 


LOUIS JOSEPH RAPHAEL COLLIN 
. FRENCH 
1850- 


DAME SOUS L’ ARBRE 
Heaght, 82 inches; width, 45 inches of 


ro es 
A TALL young woman of resolute eyes, with light, reddish- 
brown hair, is seen at full length, standing, beneath a tree 
with a moss-grown trunk, against which she leans upon 
her upraised right arm in an easy attitude. She wears a 
pure white dress, slightly low at the neck and unadorned 
save by a white bow at the white belt. In her free hand 
she holds, hanging against her skirt, her flat leghorn hat 
trimmed with black and red. The background is the humid 
green of forest undergrowth. 


Signed at the lower left, R. Collin, 1894. 


Exhibited at the Exhibition of the Société des amis des arts, Bor- 
deaux, 1902. : 


Exhibited at Helsingfors. 


ha wd 


(/ 


I=, * & Y 2s i eee » eee ae © = to?) axe wo se ee oe ee hg 
1, Meee Cee NE B,D 
o >" P »* ‘“ Si , J a! - - et 
<eth, + af : . . oe atid ae 
: 4 ‘ SA me 


LOUIS JOSEPH RAPHAEL COLLE a 
_ FRENCH Pi 
1850- 


DANSE SUR LA PLAGE | 
, Height, 117 inches; length, 176 2 ches ¥ 


i en agian ¢ 
ON the ee sands of a broad beach a group 9 
five maidens, all, save one, nude, are frolicking i in a dance. 
Their hands are clasped, except that two of the dancers * 
have opened their hands to make room for others of theirs 
companions, to whom they are beckoning, who are lying © 
on the sands. At the feet of the dancing nymphs the ~ 
green-blue sea comes in in gentle wavelets, breaking ing 
low, white ripples at the left of the graceful, joyous fig- — 
ures. The single girl clad is in a filmy, purple drapery, 
which like the hair of some of the dancers that has been — 
allowed to fall down their backs, sways with the light — 
breeze and the motion of the sport. Further down the 
beach still other figures are perceived, and the blue hills 
of the distance fade into a horizon haze. This canvas was 
painted from the preliminary sketch that appears as No. 
136 of this collection, which has been pretty faithfully fol- = 
lowed, with slight changes in some of the poses and the — 
omission of some details, while the figures and their ex-) ae 


a 


ss 


Auctioneer 


pression are carried farther. , 
Signed at the lower right, R. Collin, 1892. ie a 
a 
AMERICAN ART ASSOCIATION | a i 
Managers — 
Tuomas EK. Kirpy ae | 
38 


ARTISTS REPRESENTED AND THEIR WORKS 


Catalogue 


ABOT, Eucknr MicHen JoserH eis 
Portrait of Victor Hugo 3 
BARDOMENEGHI 
La ‘Toilette 143 
BERTON, ArmManp 
Dame Se Coiffant fae. 
BLACHE, Puiunirere CHARLES 
Copie D’Aprées Une Miniature Persanne 32 
Clair De Lune 46 
Nuit AT 
Soleil Couchant 48 
Paysage Aux Sapins 50 
Clair De Lune 55 
Chaumiéere Sous Arbres 56 
Clair De Lune 80 
Printemps 89 
La Neige 90 
La Fin Du Jour 111 
Ktang Dans Les Montagnes 131 
Hiver 135 
BOUDIN, Louis EucGENE 
Averse : 26 
Marine 37 


BOUKER, H. | 
Prés De La Fenétre 16 


Catalogue a ‘ 

Number ail 

BRESLAU, LovisE | ; 
Dame ket "3 


Jeune Fille” «* 81 


Portrait De L’ Artiste , Gens 162 


BRUCK:-LAJOS, Louis : 
Dessin D’ Histoire ene 


CALLOT, GrorGEs 
Dame — | 717 


CASSATT, Mary | 3 
Mere Et Enfant 52 


Deux Teétes De Femme inane 
Jeune Fille Lisant | 82. 


CHAMPOLLION, EvucrEnrt ANDRE 7 
Le Départ 12 . | 


CHAUVEL, THEOPHILE ; 
Un Village En Suéde 8 
Buiten Single, Amsterdam 2 10 
Une Eclusé Dans la Vallée D’Optevos (Isére) 15 


CHENAY, Paur 
Amica Silentia : 1 


COLLIN, Louis JosepH RAPHAEL 


Danse Sur La Plage 3 136 
Fille Sur Le Gazon 7 150 
Nude 163 
Dame Sous L’ Arbre 164 


Danse Sur La Plage | 165 


Catalogue 
Number 


DE FEURE, Gerorces 


Dames : Al 
Dames | 42 
Dame Rouge Au Bois 44 


DEGAS, HivairE GERMAIN EDGAR 


Bohémienne 54 
Femme Déshabillée | 66 
Paysage ; 67 
Paysage Avec Eau 68 
Sentier De Prairie 69 
Cote Rocheuse 70 
Danseuse 71 
Téte De Femme TD 
Baigneuse _ 85 
Toilette Matinale 87 
Femme Sur Lit aes 88 


DE NITTIS, GrivusErri 


La Cote 98 
DERBIER, E. 
Fille Au Chat 19 


D’ESPAGNAT, Gerorcrs (G. D’E.) 
Mendiant 30 


GAY, WALTER 


Vieille Tisserande ~ 24, 


GOENEUTTE, Norspert 
Dame En Noir 59 


Catalogue - 
umber s 


GREUX, Gustave | ; | 
La Rentree Du Troupeau 6 


Sabotiers Dans Le Bois De Quimere’ h on) 
( Finistére) - 


GUILLAUMIN, Armanp | Re ok 
Téte d’ Enfant ; 65 


Bords de la Marne i 122 
Portrait d’ Homme ad 2 
Soleil Couchant a Charenton, Juin, 1891 134 
Saules else 
Chemin Des Carrieres 140 
Prairies | 141 
Ruelle 4 Crozan Aprés La Pluie | 142 
Le Cap Long Et Le Castel Sagay | 147 
Pont Dans Les Montagnes oy 152 
Chaumieéres 4 Mireyandon 153 
Moulin 4 Charenton 154 
Vallée | 155 
Prairie a Breuillet 161 
HAMMAN, Fus 


Un Abreuvoir En Basse—Normandie _ 28 


HAVERS, ALicrE | | 


Deux Filles aul 
HUYKRUGZ, S. | 
Adoration Des Bergers a1: 


JACQUETTE, M. F. 
Deux Etudes De Fleurs | 20 
Un Chaume a 


JEANNIOT, Prerre GEorGES 
Sur Le Boulevard 


JOURDAN, ApboLrHE 


Primevére 


KURODA, SeErxi 
Le Modele 
Fille Aux Cheveux Rouges 
Jeune Fille 


Couturiére | 


LACOSTE, Prerre EvuGENE 


Femme Jouant Du Violon 


LAPLANTE, C.} 
~ Old Mariner 


LAPOSTOLET, CHartes 
Bateau a Vapeur 
Rue Sous La Neige 
Intérieur De La Cathedrale De Rouen 
Dordrecht 


~LEBOURG, ALBERT 
Paysage Avec Fleuve 
Effet De Neige 


LE DUC, Victor VIOLLET 
Pommiers En Fleurs 
Coucher Du Soleil 
Arbres Au Bord D’Un Fleuve 
L’Etang . 
Etang Avec Village 


Catalogue 
umber 


29 


22 


14 


51 
57 
118 
124 


129 
130 


93 
94 
99 
100 
101 


Catalogue a f 
Number 


LE DUC, Victor VIoLLET (continued) 


Printemps ) 102 
Ferme Au Printemps 103 
Ferme Au Printemps 104 
Fleuve Avec Un Pont 10572 
Peupliers Pres D’Un Fleuve 112 
La Seine Pres De Rouen 120 
Fleuve 121 
La Riviére | Bete: 


MACHARD, Juries Louis 


Dame En Costume Rococo 2 AS 
MANZI 


A Portrail oe 2 


MEAULLE, F. 


Maison Du Moyen Age 3 
MERY, ALFRED EMILE 


Poussins 34 


MONET, CrLaupE | 
Cote Rocheuse 158 
Enfant Parmi Les Fleurs 160 


MORDANT, DANIEL 
La Priére 18 


PILLE, CuHartes HENRI : 
Roi Des Francs 25 


Catalogue 
Number 


PISSARRO, CAMILLE 


Paysanne— Etude 53 
Paysannes | 83 
# 

Baigneuse IN 

Maison De Paysan | 145 

Baigneuse Seule 146 

Fanguses Au Repos Ly 
RAFFAELLI, JEAn FrANcoIs 

Bain De Mer, Tréport 139 
RENOIR, Firmin-AvUGUSTE 

Deux Filles 73 

Femme Demi-Nue : 86 


Portrait D’ Enfant 97 


ROCHEGROSSE, Grorces 
Historique 17 


ROOKE, HEnr1 


La Prairie 13 
ROSSANO, E. 
Ruines Romaines 91 
Arbres En Antomne 92 
Lisiére Du Bois | 95 
Le Fleuve ; 96 
Cactus 106 
Chemin i 107 
Dans La Campagne 108 
Allée 109 
Une Espagnole 110 
Groupe D’Arbres 113 


‘Rochers 114 


ROSSANO, E. (continued) 
_ Intérieur Du Bois 

Bois | ‘ 
Paysage D’ Italie 
Bois Du Boulogne 
Paysage Aux Oliviers 
Paysage Italien 
Six Etudes 


SAINT-MARCEL, CHARLES EKDMONDE 
Famille De Lions 


SAUTER, H. 
Femme Nue 


Le Brouillard Rose 


SCOTT, H. ‘ 
Torpilleur 


SERRET, J. 
Enfants 


SISLEY, ALFRED 
Allée Sur Tleuve 


UNKNOWN 
Mere Et Enfant Sur Un Tombeau 
“Matelots Et Danseuses 
Scene Au Bois De Boulogne 
Deux Cantatrices 


VIDAL, EuGENE 
A Rainy Day 
Jeune Fille 
Dame 4 Ombrelle 


Catalogue 4 


Number 


7 


115 
116 
119 
125 4 
127: 
128 


Who 


40 


49 


138 


16 
33 
35 
36 


31 
84 
144 


WALTNER, CHaArRLEs 
Le Vase De Chine 


WEBER, Orrto 
Bord De La Mer 


WEIR, J. ALDEN 
The Brook 


ZANDOMENEGHI, Feperico 

Dame Lisant Une Lettre 

Téte De Jeune Fille 

Téte De Jeune Fille, Sur Fond Vert 
Téte De Jeune Fille 

Toilette 


Catalogue 
umber 


# 


60 


38 


39 
61 
62 
63 
64 


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